Join the cast and creative team of Richard Jones' hotly-anticipated new production as they explore one of the romantic of all operas. Find out more at http://www.roh.org.uk/boheme
Acclaimed director Richard Jones (Boris Godunov, Il trittico) directs a new production of Puccini’s La bohème. Irresistible in its witty, passionate blend of comedy and tragedy, the opera focusses on the lives of a group of young artists as they eke out an existence on the bohemian fringes of Paris. Jones brings his characteristically acute insight to this much-loved classic, visualized in Stewart Laing’s spectacular, stylized designs.
Puccini’s romantic depiction of bohemian Paris, with wonderful music and a love story drawn from everyday life, has captivated audiences around the world, making La bohème one of the best-loved of all operas. It was first performed in Covent Garden in 1897 and has had more than five hundred performances here since.

published:31 Aug 2017

views:27089

Spanish heat and gypsy passion are brought to the stage in Francesca Zambello's vivid production of Bizet's opera: http://www.roh.org.uk/carmen
The Habanera is the aria Carmen sings when she first appears on stage. It is also known as 'L'amour est un oiseau rebelle'.
Carmen was based on a popular novella of the same name by Prosper Mérimée, which enticed French readers with exotic tales of Spain. Its heady combination of passion, sensuality and violence initially proved too much for the stage and Georges Bizet's opera was a critical failure on its premiere in 1875. Bizet died shortly after, never learning of the spectacular success Carmen would achieve -- it has been staged over 500 times at Covent Garden alone.
Carmen contains many well-loved numbers, such as Carmen's seductive Habanera and Escamillo's rousing Toreador's song, in which he celebrates the thrill of the bullfight. Richly coloured designs capture the sultry heat of the Spanish sun, while ranks of soldiers, crowds of peasants, gypsies and bullfighters bring 19th-centurySeville alive. This combination of memorable music, vivid setting and dramatic story have made Carmen one of the most popular operas in the world.

Join mezzo-soprano Joyce DiDonato as she explores Rossini's opera Semiramide. Find out more at http://www.roh.org.uk
Rossini wrote Semiramide in 1823, his last year in Italy before moving to Paris. The opera makes a fittingly magnificent finale to his Italian career: its astonishing structure and span anticipates the sophistication of his later masterpiece Guillaume Tell, while the blistering and virtuoso title role – written for Rossini’s wife Isabella Colbran – inspired many later composers, including Bellini in his Norma. Based on a story by Voltaire, the tragedy sees its characters wrestle against fate as the story propels them towards the harrowing finale, to music of magnificent beauty.
David Alden directs a new production for The Royal Opera. He describes Semiramide as ‘hard and political, almost as if it is carved out of stone, and what lies beneath is like a Greek tragedy’. He gives the opera a 20th-century setting, in which Semiramide rules an authoritarian state. He has assembled a team of regular collaborators to bring this late, great Rossini tragedy to the stage, in The Royal Opera’s first ever production.

published:09 Nov 2017

views:11693

The priestess Norma leads her people in a prayer for peace. Sonya Yoncheva sings the title role in Bellini's masterpiece, with the Royal Opera Chorus and the Orchestra of the Royal Opera House conducted by Antonio Pappano, recorded September 2016. Find out more at http://www.roh.org.uk/norma
Bellini’s bel canto masterpiece Norma had its premiere at La Scala, Milan, on Boxing Day 1831. After a muted initial response the opera quickly became popular, and is now a mainstay of the repertory. Norma is perhaps most acclaimed as a vehicle for the lead soprano, most famously now by such 20th-century greats as Maria Callas, Montserrat Caballé and Joan Sutherland. Indeed, Bellini provides some astonishing vocal fireworks for his title character – most famously ‘Casta diva’, Norma’s Act I hymn to the chaste moon, and Act II’s ‘Dormono entrambi’, as she contemplates the unthinkable act of killing her children. But the opera’s dramatic potency rests in its breathtaking ensembles, most strikingly in Norma’s duets with Pollione and Adalgisa, the Act I trio ‘Vanne, sì: mi lascia, indegno’ and the blistering Act II finale.
This new production of Norma was The Royal Opera’s first in nearly thirty years. Directing is Àlex Ollé, of the Catalan collective La Fura dels Baus, reunited with the creative team behind his acclaimed production of Oedipe. They give Norma a contemporary setting against a backdrop of a cruel civil war, and focus on the opera’s exploration of the conflict between an individual’s own desires and those of her society – and of religion as a force for unity and for destruction.

published:06 Oct 2016

views:145800

SopranoDiana Damrau sings 'Der Hölle Rache', the famous Queen of the Night aria from Mozart's The Magic Flute. Find out more at http://www.roh.org.uk/flute
Mozart wrote Die Zauberflöte (The Magic Flute) for a suburban theatre in Vienna, the Theater auf der Wieden. He drew on the magical spectacle and earthy comedy of popular Viennese theatre. As well as being a comedy, The Magic Flute is an expression of Mozart’s profound spiritual beliefs: Enlightenment concerns with the search for wisdom and virtue are at the heart of this enchanting tale. The Magic Flute was an instant success with audiences and Mozart’s supposed rival Salieri described it as an ‘operone’ – a great opera.
David McVicar’s classic production embraces both the seriousness and comedy of Mozart’s work. The audience is transported to a fantastical world of dancing animals, flying machines and dazzlingly starry skies. The setting provides a wonderful backdrop for Mozart’s kaleidoscopic score, from the Queen of the Night’s coloratura fireworks to Tamino and Pamina’s lyrical love duets and Papageno’s hearty, folksong-like arias.

published:19 Oct 2017

views:13250

Vittorio Grigòlo sings the famous aria 'La donna è mobile' from Verdi's opera Rigoletto. Find out more at http://www.roh.org.uk/rigoletto
Giuseppe Verdi wrote in 1855 that Rigoletto, based on Victor Hugo’s play Le Roi s’amuse, was his ‘best opera’. He had had to overcome state censorship to stage it – the censors objected to its depiction of an immoral ruler – but he was vindicated by the premiere’s huge success in 1851. Rigoletto was performed 250 times in the next 10 years and has remained one of the most popular of all operas.
David McVicar’s production highlights the cruelty at the heart of the court of Mantua. Richly dressed courtiers engage in orgies and revelries to Verdi’s heady, spirited dances. The opera’s many musical highlights include the ebullient ‘La donna è mobile’, in which the Duke boasts of his disregard for women; Gilda’s exquisite, plangent duets with Rigoletto and the Duke; and the gorgeous Act III quartet that beautifully weaves the voices together as the story quickens to its shattering conclusion.

published:23 Oct 2017

views:6436

Join the cast of David McVicar's Royal Opera production as they explore one of the best-loved operas of all time. Find out more at http://www.roh.org.uk
The first Insights event of the 2016/17 Season will feature conductor Julia Jones exploring one of Mozart's most memorable scores, as well as insights from the cast including Siobhan Stagg (Pamina), Mauro Peter (Tamina) and Sabine Devielhe (the Queen of the Night). It will be presented by Roderick Williams, who will sing the role of Papageno in the upcoming run.
As well as being a comedy, The Magic Flute is an expression of its composer's profound spiritual beliefs with the search for wisdom and virtue are at its heart. The Magic Flute was an instant success with audiences and Mozart’s supposed rival Salieri described it as an ‘operone’ – a great opera. Two centuries later, it continues to be one of the most popular of all operas, second only to Verdi'sLa traviata in terms of performances staged over the last five years according to Operabase.
***
Mozart wrote Die Zauberflöte (The Magic Flute) for a suburban theatre in Vienna, the Theater auf der Wieden. He drew on the magical spectacle and earthy comedy of popular Viennese theatre. As well as being a comedy, The Magic Flute is an expression of Mozart’s profound spiritual beliefs: Enlightenment concerns with the search for wisdom and virtue are at the heart of this enchanting tale. The Magic Flute was an instant success with audiences and Mozart’s supposed rival Salieri described it as an ‘operone’ – a great opera.
David McVicar’s classic production embraces both the seriousness and comedy of Mozart’s work. The audience is transported to a fantastical world of dancing animals, flying machines and dazzlingly starry skies. The setting provides a wonderful backdrop for Mozart’s kaleidoscopic score, from the Queen of the Night’s coloratura fireworks to Tamino and Pamina’s lyrical love duets and Papageno’s hearty, folksong-like arias.

published:29 Aug 2017

views:32738

Saimir Pirgu, Venera Gimadieva and The Royal OperaChorus sing La traviata's famous drinking song. Find out more at www.roh.org.uk/traviata
‘A toast to the pleasures of life!’ – so sings Violetta, her new admirer Alfredo and her party guests in the opening scene of Giuseppe Verdi’s La traviata. But beneath the surface glamour of Violetta’s Parisian life run darker undercurrents: her doomed love for Alfredo and the tensions the lovers encounter when they break society’s conventions. La traviata, based on Alexandre Dumas fils’s play La Dame aux camélias, is one of Verdi’s most popular operas, combining drama, profound emotion and wonderful melodies.
Richard Eyre’s classic production conveys the indulgent social whirl of 19th-centuryParis. It provides a vivid setting for Verdi’s tuneful score, which includes such favourites as Violetta’s introspective ‘Ah fors’è lui’ and ecstatic ‘Sempre libera’; the duet ‘Pura siccome un angelo’ as Giorgio Germont begs Violetta to leave Alfredo; and ‘Parigi, o cara’, in which the lovers poignantly imagine a life that will never be theirs. The role of Violetta (the ‘fallen woman’ of the title) is one of Verdi’s most complex and enduring characters.

published:03 Mar 2016

views:134448

The Royal Opera, in partnership with seven of the UK's leading opera companies, BBC Arts and the V&A, is celebrating the passion and power of opera. Find out more at http://www.roh.org.uk
#OperaPassion Day will feature eight hours of activity from eight of the UK's leading opera companies: the Royal Opera House, English National Opera, English Touring Opera, Opera North, Glyndebourne, Welsh National Opera, Scottish Opera and Northern Ireland Opera will be busting the myths around the world of opera, through interviews, live performance, and never-before-seen archive footage.
Viewers will also get a window into the Opera: Passion, Power and Politics exhibition, created by the V&A in collaboration with the Royal Opera House.
Our live hour will be presented by DJ Nihal, and will be broadcast on FacebookLIVE from 11.30am. Highlights include:
- Backstage access into rehearsals for our upcoming production of Lucia di Lammermoor
- A sword fighting session with baritone Erwin Schrott
- A rare demonstration: do babies have the best vocal technique?
- George The Poet's first trip to the opera
- Operatic singing tips from the professionals, including a singing lesson live from the main stage
- A window into our wonderful Props department
And much more…
At 6.30pm, to celebrate the V&A’s landmark exhibition Opera: Passion, Power and Politics, the V&A and the Royal Opera House present a pop up performance at London'sSt Pancras Station: unsuspecting commuters will be treated to a live performance from members of the Royal Opera Chorus, inspired by the operas featured in the exhibition. The performance will also be livestreamed across the world. (Do come and sing along if you're in the area!)
The day will culminate in an operatic broadcast on BBC Radio 3, chosen through a public vote.

published:19 Oct 2017

views:7857

The cast and creative team of The Royal Opera on what makes Puccini's opera La bohème a classic. Find out more at http://www.roh.org.uk/boheme
Acclaimed director Richard Jones (Boris Godunov, Il trittico) directs a new production of Puccini’s La bohème. Irresistible in its witty, passionate blend of comedy and tragedy, the opera focusses on the lives of a group of young artists as they eke out an existence on the bohemian fringes of Paris. Jones brings his characteristically acute insight to this much-loved classic, visualized in Stewart Laing’s spectacular, stylized designs.
Puccini’s romantic depiction of bohemian Paris, with wonderful music and a love story drawn from everyday life, has captivated audiences around the world, making La bohème one of the best-loved of all operas. It was first performed in Covent Garden in 1897 and has had more than five hundred performances here since.

The Royal

The Royal is a British medical drama series produced by ITV that ran from 2003 to 2011. The show comprised one-hour episodes which were normally first aired on ITV in the Sunday early evening slot.

The title of the series refers to the fictional "St Aidan's Royal Free Hospital", located in Elsinby, a fictional rural seaside town, portrayed as being close to Aidensfield, the fictional setting of the UK TV series Heartbeat. The series was shot in Whitby and Scarborough, in the North Riding of Yorkshire. The Royal is an NHS hospital serving the local town, countryside and visitors. The show was set in the 1960s. It began as a spin-off from another popular ITV show set in North Yorkshire,Heartbeat.

Overview

The Royal was introduced in the 14th episode of the 12th series of Heartbeat entitled 'Out Of The Blue' and The Royal benefited from this connection to the extremely popular parent series; several Heartbeat characters appeared in the first couple of series of The Royal, most notably Bill Maynard as a bed-ridden Claude Greengrass, but as the series progressed it generally dropped its character crossovers with Heartbeat to become its own entity.

The Royal Opera

The Royal Opera is a company based in central London, resident at the Royal Opera House, Covent Garden. Along with the English National Opera, it is one of the two principal opera companies in London. Founded in 1946 as the Covent Garden Opera Company, it was known by that title until 1968. It brought a long annual season and consistent management to a house that had previously hosted short seasons under a series of impresarios. Since its inception, it has shared the Royal Opera House with the dance company now known as The Royal Ballet.

The Royal Ballet was one of the foremost ballet companies of the 20th century, and continues to be one of the world's most famous ballet companies to this day, generally noted for its artistic and creative values. The company employs approximately 100 dancers and has purpose built facilities within the Royal Opera House. The official associate school of the company is the Royal Ballet School, and it also has a sister company, the Birmingham Royal Ballet, which operates independently. The Prima ballerina assoluta of the Royal Ballet is the late Dame Margot Fonteyn.

Opera house

An opera house is a theatre building used for opera performances that consists of a stage, an orchestra pit, audience seating, and backstage facilities for costumes and set building. While some venues are constructed specifically for operas, other opera houses are part of larger performing arts centers.

History

The first public opera house came into existence in 1637 as the Teatro San Cassiano in Venice, Italy, in a country where opera has been popular through the centuries among ordinary people as well as wealthy patrons; it still has a large number of working opera houses. In contrast, there was no opera house in London when Henry Purcell was composing and the first opera house in Germany was built in Hamburg in 1678. Early United States opera houses served a variety of functions in towns and cities, hosting community dances, fairs, plays, and vaudeville shows as well as operas and other musical events.

In the 17th and 18th centuries, opera houses were often financed by rulers, nobles, and wealthy people who used patronage of the arts to endorse their political ambitions and social positions or prestige. With the rise of bourgeois and capitalist social forms in the 19th century, European culture moved away from its patronage system to a publicly supported system. In the 2000s, most opera and theatre companies raise funds from a combination of government and institutional grants, ticket sales, and private donations.

The Royal Opera's new La bohème - a first glimpse (ROH Insight)

Join the cast and creative team of Richard Jones' hotly-anticipated new production as they explore one of the romantic of all operas. Find out more at http://www.roh.org.uk/boheme
Acclaimed director Richard Jones (Boris Godunov, Il trittico) directs a new production of Puccini’s La bohème. Irresistible in its witty, passionate blend of comedy and tragedy, the opera focusses on the lives of a group of young artists as they eke out an existence on the bohemian fringes of Paris. Jones brings his characteristically acute insight to this much-loved classic, visualized in Stewart Laing’s spectacular, stylized designs.
Puccini’s romantic depiction of bohemian Paris, with wonderful music and a love story drawn from everyday life, has captivated audiences around the world, making La bohème one of the best-loved of all operas. It was first performed in Covent Garden in 1897 and has had more than five hundred performances here since.

2:11

Carmen - Habanera (Bizet; Anna Caterina Antonacci, The Royal Opera)

Carmen - Habanera (Bizet; Anna Caterina Antonacci, The Royal Opera)

Carmen - Habanera (Bizet; Anna Caterina Antonacci, The Royal Opera)

Spanish heat and gypsy passion are brought to the stage in Francesca Zambello's vivid production of Bizet's opera: http://www.roh.org.uk/carmen
The Habanera is the aria Carmen sings when she first appears on stage. It is also known as 'L'amour est un oiseau rebelle'.
Carmen was based on a popular novella of the same name by Prosper Mérimée, which enticed French readers with exotic tales of Spain. Its heady combination of passion, sensuality and violence initially proved too much for the stage and Georges Bizet's opera was a critical failure on its premiere in 1875. Bizet died shortly after, never learning of the spectacular success Carmen would achieve -- it has been staged over 500 times at Covent Garden alone.
Carmen contains many well-loved numbers, such as Carmen's seductive Habanera and Escamillo's rousing Toreador's song, in which he celebrates the thrill of the bullfight. Richly coloured designs capture the sultry heat of the Spanish sun, while ranks of soldiers, crowds of peasants, gypsies and bullfighters bring 19th-centurySeville alive. This combination of memorable music, vivid setting and dramatic story have made Carmen one of the most popular operas in the world.

3:30

The icing on the cake: The secrets of The Nutcracker's Sugar Plum Fairy (The Royal Ballet)

The icing on the cake: The secrets of The Nutcracker's Sugar Plum Fairy (The Royal Ballet)

The icing on the cake: The secrets of The Nutcracker's Sugar Plum Fairy (The Royal Ballet)

Insights into Rossini's Semiramide with Joyce DiDonato (The Royal Opera)

Insights into Rossini's Semiramide with Joyce DiDonato (The Royal Opera)

Insights into Rossini's Semiramide with Joyce DiDonato (The Royal Opera)

Join mezzo-soprano Joyce DiDonato as she explores Rossini's opera Semiramide. Find out more at http://www.roh.org.uk
Rossini wrote Semiramide in 1823, his last year in Italy before moving to Paris. The opera makes a fittingly magnificent finale to his Italian career: its astonishing structure and span anticipates the sophistication of his later masterpiece Guillaume Tell, while the blistering and virtuoso title role – written for Rossini’s wife Isabella Colbran – inspired many later composers, including Bellini in his Norma. Based on a story by Voltaire, the tragedy sees its characters wrestle against fate as the story propels them towards the harrowing finale, to music of magnificent beauty.
David Alden directs a new production for The Royal Opera. He describes Semiramide as ‘hard and political, almost as if it is carved out of stone, and what lies beneath is like a Greek tragedy’. He gives the opera a 20th-century setting, in which Semiramide rules an authoritarian state. He has assembled a team of regular collaborators to bring this late, great Rossini tragedy to the stage, in The Royal Opera’s first ever production.

6:42

Norma – Casta diva (Sonya Yoncheva, The Royal Opera)

Norma – Casta diva (Sonya Yoncheva, The Royal Opera)

Norma – Casta diva (Sonya Yoncheva, The Royal Opera)

The priestess Norma leads her people in a prayer for peace. Sonya Yoncheva sings the title role in Bellini's masterpiece, with the Royal Opera Chorus and the Orchestra of the Royal Opera House conducted by Antonio Pappano, recorded September 2016. Find out more at http://www.roh.org.uk/norma
Bellini’s bel canto masterpiece Norma had its premiere at La Scala, Milan, on Boxing Day 1831. After a muted initial response the opera quickly became popular, and is now a mainstay of the repertory. Norma is perhaps most acclaimed as a vehicle for the lead soprano, most famously now by such 20th-century greats as Maria Callas, Montserrat Caballé and Joan Sutherland. Indeed, Bellini provides some astonishing vocal fireworks for his title character – most famously ‘Casta diva’, Norma’s Act I hymn to the chaste moon, and Act II’s ‘Dormono entrambi’, as she contemplates the unthinkable act of killing her children. But the opera’s dramatic potency rests in its breathtaking ensembles, most strikingly in Norma’s duets with Pollione and Adalgisa, the Act I trio ‘Vanne, sì: mi lascia, indegno’ and the blistering Act II finale.
This new production of Norma was The Royal Opera’s first in nearly thirty years. Directing is Àlex Ollé, of the Catalan collective La Fura dels Baus, reunited with the creative team behind his acclaimed production of Oedipe. They give Norma a contemporary setting against a backdrop of a cruel civil war, and focus on the opera’s exploration of the conflict between an individual’s own desires and those of her society – and of religion as a force for unity and for destruction.

3:01

The Magic Flute - Queen of the Night aria (Mozart; Diana Damrau, The Royal Opera)

The Magic Flute - Queen of the Night aria (Mozart; Diana Damrau, The Royal Opera)

The Magic Flute - Queen of the Night aria (Mozart; Diana Damrau, The Royal Opera)

SopranoDiana Damrau sings 'Der Hölle Rache', the famous Queen of the Night aria from Mozart's The Magic Flute. Find out more at http://www.roh.org.uk/flute
Mozart wrote Die Zauberflöte (The Magic Flute) for a suburban theatre in Vienna, the Theater auf der Wieden. He drew on the magical spectacle and earthy comedy of popular Viennese theatre. As well as being a comedy, The Magic Flute is an expression of Mozart’s profound spiritual beliefs: Enlightenment concerns with the search for wisdom and virtue are at the heart of this enchanting tale. The Magic Flute was an instant success with audiences and Mozart’s supposed rival Salieri described it as an ‘operone’ – a great opera.
David McVicar’s classic production embraces both the seriousness and comedy of Mozart’s work. The audience is transported to a fantastical world of dancing animals, flying machines and dazzlingly starry skies. The setting provides a wonderful backdrop for Mozart’s kaleidoscopic score, from the Queen of the Night’s coloratura fireworks to Tamino and Pamina’s lyrical love duets and Papageno’s hearty, folksong-like arias.

Vittorio Grigòlo sings the famous aria 'La donna è mobile' from Verdi's opera Rigoletto. Find out more at http://www.roh.org.uk/rigoletto
Giuseppe Verdi wrote in 1855 that Rigoletto, based on Victor Hugo’s play Le Roi s’amuse, was his ‘best opera’. He had had to overcome state censorship to stage it – the censors objected to its depiction of an immoral ruler – but he was vindicated by the premiere’s huge success in 1851. Rigoletto was performed 250 times in the next 10 years and has remained one of the most popular of all operas.
David McVicar’s production highlights the cruelty at the heart of the court of Mantua. Richly dressed courtiers engage in orgies and revelries to Verdi’s heady, spirited dances. The opera’s many musical highlights include the ebullient ‘La donna è mobile’, in which the Duke boasts of his disregard for women; Gilda’s exquisite, plangent duets with Rigoletto and the Duke; and the gorgeous Act III quartet that beautifully weaves the voices together as the story quickens to its shattering conclusion.

1:23:35

Insights into Mozart's Magic Flute (The Royal Opera)

Insights into Mozart's Magic Flute (The Royal Opera)

Insights into Mozart's Magic Flute (The Royal Opera)

Join the cast of David McVicar's Royal Opera production as they explore one of the best-loved operas of all time. Find out more at http://www.roh.org.uk
The first Insights event of the 2016/17 Season will feature conductor Julia Jones exploring one of Mozart's most memorable scores, as well as insights from the cast including Siobhan Stagg (Pamina), Mauro Peter (Tamina) and Sabine Devielhe (the Queen of the Night). It will be presented by Roderick Williams, who will sing the role of Papageno in the upcoming run.
As well as being a comedy, The Magic Flute is an expression of its composer's profound spiritual beliefs with the search for wisdom and virtue are at its heart. The Magic Flute was an instant success with audiences and Mozart’s supposed rival Salieri described it as an ‘operone’ – a great opera. Two centuries later, it continues to be one of the most popular of all operas, second only to Verdi'sLa traviata in terms of performances staged over the last five years according to Operabase.
***
Mozart wrote Die Zauberflöte (The Magic Flute) for a suburban theatre in Vienna, the Theater auf der Wieden. He drew on the magical spectacle and earthy comedy of popular Viennese theatre. As well as being a comedy, The Magic Flute is an expression of Mozart’s profound spiritual beliefs: Enlightenment concerns with the search for wisdom and virtue are at the heart of this enchanting tale. The Magic Flute was an instant success with audiences and Mozart’s supposed rival Salieri described it as an ‘operone’ – a great opera.
David McVicar’s classic production embraces both the seriousness and comedy of Mozart’s work. The audience is transported to a fantastical world of dancing animals, flying machines and dazzlingly starry skies. The setting provides a wonderful backdrop for Mozart’s kaleidoscopic score, from the Queen of the Night’s coloratura fireworks to Tamino and Pamina’s lyrical love duets and Papageno’s hearty, folksong-like arias.

2:55

La traviata - Brindisi aka The Drinking Song (The Royal Opera)

La traviata - Brindisi aka The Drinking Song (The Royal Opera)

La traviata - Brindisi aka The Drinking Song (The Royal Opera)

Saimir Pirgu, Venera Gimadieva and The Royal OperaChorus sing La traviata's famous drinking song. Find out more at www.roh.org.uk/traviata
‘A toast to the pleasures of life!’ – so sings Violetta, her new admirer Alfredo and her party guests in the opening scene of Giuseppe Verdi’s La traviata. But beneath the surface glamour of Violetta’s Parisian life run darker undercurrents: her doomed love for Alfredo and the tensions the lovers encounter when they break society’s conventions. La traviata, based on Alexandre Dumas fils’s play La Dame aux camélias, is one of Verdi’s most popular operas, combining drama, profound emotion and wonderful melodies.
Richard Eyre’s classic production conveys the indulgent social whirl of 19th-centuryParis. It provides a vivid setting for Verdi’s tuneful score, which includes such favourites as Violetta’s introspective ‘Ah fors’è lui’ and ecstatic ‘Sempre libera’; the duet ‘Pura siccome un angelo’ as Giorgio Germont begs Violetta to leave Alfredo; and ‘Parigi, o cara’, in which the lovers poignantly imagine a life that will never be theirs. The role of Violetta (the ‘fallen woman’ of the title) is one of Verdi’s most complex and enduring characters.

1:01:49

#OperaPassion - Behind the scenes with The Royal Opera

#OperaPassion - Behind the scenes with The Royal Opera

#OperaPassion - Behind the scenes with The Royal Opera

The Royal Opera, in partnership with seven of the UK's leading opera companies, BBC Arts and the V&A, is celebrating the passion and power of opera. Find out more at http://www.roh.org.uk
#OperaPassion Day will feature eight hours of activity from eight of the UK's leading opera companies: the Royal Opera House, English National Opera, English Touring Opera, Opera North, Glyndebourne, Welsh National Opera, Scottish Opera and Northern Ireland Opera will be busting the myths around the world of opera, through interviews, live performance, and never-before-seen archive footage.
Viewers will also get a window into the Opera: Passion, Power and Politics exhibition, created by the V&A in collaboration with the Royal Opera House.
Our live hour will be presented by DJ Nihal, and will be broadcast on FacebookLIVE from 11.30am. Highlights include:
- Backstage access into rehearsals for our upcoming production of Lucia di Lammermoor
- A sword fighting session with baritone Erwin Schrott
- A rare demonstration: do babies have the best vocal technique?
- George The Poet's first trip to the opera
- Operatic singing tips from the professionals, including a singing lesson live from the main stage
- A window into our wonderful Props department
And much more…
At 6.30pm, to celebrate the V&A’s landmark exhibition Opera: Passion, Power and Politics, the V&A and the Royal Opera House present a pop up performance at London'sSt Pancras Station: unsuspecting commuters will be treated to a live performance from members of the Royal Opera Chorus, inspired by the operas featured in the exhibition. The performance will also be livestreamed across the world. (Do come and sing along if you're in the area!)
The day will culminate in an operatic broadcast on BBC Radio 3, chosen through a public vote.

4:57

What makes La bohème a dream-come-true for opera singers? (The Royal Opera)

What makes La bohème a dream-come-true for opera singers? (The Royal Opera)

What makes La bohème a dream-come-true for opera singers? (The Royal Opera)

The cast and creative team of The Royal Opera on what makes Puccini's opera La bohème a classic. Find out more at http://www.roh.org.uk/boheme
Acclaimed director Richard Jones (Boris Godunov, Il trittico) directs a new production of Puccini’s La bohème. Irresistible in its witty, passionate blend of comedy and tragedy, the opera focusses on the lives of a group of young artists as they eke out an existence on the bohemian fringes of Paris. Jones brings his characteristically acute insight to this much-loved classic, visualized in Stewart Laing’s spectacular, stylized designs.
Puccini’s romantic depiction of bohemian Paris, with wonderful music and a love story drawn from everyday life, has captivated audiences around the world, making La bohème one of the best-loved of all operas. It was first performed in Covent Garden in 1897 and has had more than five hundred performances here since.

La bohème trailer (The Royal Opera)

Antonio Pappano conducts a superb young cast including Nicole Car, Michael Fabiano and Mariusz Kwiecień in Richard Jones’s new production of Puccini’s passionate opera. Find out more at http://www.roh.org.uk/boheme
Acclaimed director Richard Jones (Boris Godunov, Il trittico) directs a new production of Puccini’s La bohème. Irresistible in its witty, passionate blend of comedy and tragedy, the opera focusses on the lives of a group of young artists as they eke out an existence on the bohemian fringes of Paris. Jones brings his characteristically acute insight to this much-loved classic, visualized in Stewart Laing’s spectacular, stylized designs.
Puccini’s romantic depiction of bohemian Paris, with wonderful music and a love story drawn from everyday life, has captivated audiences around the world, making La bohème one of the best-loved of all operas. It was first performed in Covent Garden in 1897 and has had more than five hundred performances here since.

2:43

Verdi’s 'Anvil Chorus' from Il trovatore (The Royal Opera)

Verdi’s 'Anvil Chorus' from Il trovatore (The Royal Opera)

Verdi’s 'Anvil Chorus' from Il trovatore (The Royal Opera)

Even for those who have never set foot in an opera house, Verdi's 'Anvil Chorus' is likely to be a familiar tune. Its rousing tune and rhythmic percussion - including, frequently, anvils played on stage on and off the beat - makes it something of an archetype for a bold, cheery Italian chorus.
Find out more at http://www.roh.org.uk/news/watch-verdi-anvil-chorus-il-trovatore

1:11

Carmen (Bizet) The Royal Opera

Carmen (Bizet) The Royal Opera

Carmen (Bizet) The Royal Opera

The Spanish heat and gypsy passion of Carmen take to the stage as The Royal Opera presents the first revival of Francesca Zambello's vibrant production with Tanya McCallin's richly coloured designs.
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Why Verdi's Otello is an 'Everest' for opera singers (The Royal Opera)

Why Verdi's Otello is an 'Everest' for opera singers (The Royal Opera)

Why Verdi's Otello is an 'Everest' for opera singers (The Royal Opera)

Jonas Kaufmann, Antonio Pappano, Maria Agresta and other members of The Royal Opera on what makes Verdi'sOtello one of all opera's greatest challenges. Find out more at http://www.roh.org.uk/otello
Otello is Verdi’s final tragedy. After astonishing productivity in his early career, the composer slowed in later life; more than fifteen years separate Otello and its predecessor, Aida, although Verdi revised his earlier works Simon Boccanegra and Don Carlo in the interim. He was lured out of retirement by the composer and librettist Arrigo Boito, who tempted him with a proposal that was very close to Verdi’s heart: Shakespeare’sOthello. Boito adapted the libretto from Shakespeare’s play, with much intervention from Verdi. As the latest utterance from the master of Italian opera, the 1887 premiere was an instant success – but, more than that, Otello has been an important part of the international opera repertory ever since.
The Italian musical landscape had changed during Verdi’s period of isolation, with many of his compatriots finding inspiration in foreign operatic innovations. Verdi responds in Otello with music that looks back to the traditional forms and structures of Italian opera, but which carries an unmistakably different dramatic thrust and fluidity, in response to Shakespeare’s text. The results are thrilling: from the violent storm that opens the opera through to Iago’s blood-chilling Credo and Otello’s increasingly desperate duets with Desdemona. Keith Warner (Wozzeck, Der Ring des Nibelungen) directs a new production of this masterpiece, The Royal Opera’s first in 30 years.

59:08

Alice's Adventures in Wonderland in rehearsal (The Royal Ballet)

Alice's Adventures in Wonderland in rehearsal (The Royal Ballet)

Alice's Adventures in Wonderland in rehearsal (The Royal Ballet)

JoinThe Royal Ballet as they rehearse Alice's Adventures in Wonderland. Find out more at http://www.roh.org.uk/alice
As well as sections featuring the cast being coached through sections of Christopher Wheeldon's modern classic, the livestream will also offer a closer look at the many props and puppets that bring Wonderland to life. The event will be presented by Royal BalletPrincipalAlexander Campbell.
Christopher Wheeldon’s Alice’s Adventures in Wonderland burst onto the stage in 2011 in an explosion of colour, stage magic and inventive, sophisticated choreography. Joby Talbot’s score combines contemporary soundworlds with sweeping melodies that gesture to ballet scores of the 19th century. Bob Crowley’s wildly imaginative, eye-popping designs draw on everything from puppetry to projections to make Wonderland wonderfully real.
Alice encounters a cast of extraordinary and instantly recognizable characters, from the highly strung Queen of Hearts – who performs a hilarious send-up of The Sleeping Beauty’s famous Rose Adage – to a playing card corps de ballet, a sinuous caterpillar and a tap-dancing Mad Hatter. But the ballet does not avoid the darker undercurrents of Lewis Carroll’s story: a nightmarish kitchen, an eerily disembodied Cheshire Cat and the unhinged tea party are all here in vivid detail. The delicious result shows The Royal Ballet at its best, bringing together world-class dance with enchanting family entertainment.

3:31

The giant tap-dancing noses scene from Shostakovich's The Nose (The Royal Opera)

The giant tap-dancing noses scene from Shostakovich's The Nose (The Royal Opera)

The giant tap-dancing noses scene from Shostakovich's The Nose (The Royal Opera)

Shostakovich’s surreal and brilliant first opera tells the story of a man who wakes one morning to find that his nose has gone missing
Find out more at http://www.roh.org.uk/thenose
Shostakovich was only 20 when he began writing The Nose, his operatic debut. He turned to a tiny short story by Gogol: an absurdist satire, where a civil servant’s errant nose launches its owner on a ludicrous battle against both nose and the authorities, as bureaucratic processes break down in the face of so unusual a problem. Gogol’s surrealist fable fired Shostakovich’s imagination, and he responded with a work of exuberant energy, full of musical jokes and grotesque parody – from the famed Act I entr’acte for percussion ensemble to plaintive laments, careening counterpoint, folksong (accompanied by balalaika) and rambunctious polkas.
Shostakovich finished the work in about a year, and in the following months gave successful performances of extracts from the opera. But it was to be another two years, in 1930, before The Nose was staged in full, by which time Soviet cultural climate had turned sternly against works of such perceived frivolity. The opera was quickly dropped from the repertory; but since its rediscovery in the 1960s it has steadily gained recognition for Shostakovich’s baffling, brilliant wit. This new production is The Royal Opera’s first. Artistic Director of Berlin’s Komische OperBarrie Kosky directs, fresh from his triumphant production of Saul for Glyndebourne Festival. The Nose is performed in English, in a new translation by David Pountney.

The Royal Opera's new La bohème - a first glimpse (ROH Insight)

Join the cast and creative team of Richard Jones' hotly-anticipated new production as they explore one of the romantic of all operas. Find out more at http://www.roh.org.uk/boheme
Acclaimed director Richard Jones (Boris Godunov, Il trittico) directs a new production of Puccini’s La bohème. Irresistible in its witty, passionate blend of comedy and tragedy, the opera focusses on the lives of a group of young artists as they eke out an existence on the bohemian fringes of Paris. Jones brings his characteristically acute insight to this much-loved classic, visualized in Stewart Laing’s spectacular, stylized designs.
Puccini’s romantic depiction of bohemian Paris, with wonderful music and a love story drawn from everyday life, has captivated audiences around the world, making La bohème one of...

published: 31 Aug 2017

Carmen - Habanera (Bizet; Anna Caterina Antonacci, The Royal Opera)

Spanish heat and gypsy passion are brought to the stage in Francesca Zambello's vivid production of Bizet's opera: http://www.roh.org.uk/carmen
The Habanera is the aria Carmen sings when she first appears on stage. It is also known as 'L'amour est un oiseau rebelle'.
Carmen was based on a popular novella of the same name by Prosper Mérimée, which enticed French readers with exotic tales of Spain. Its heady combination of passion, sensuality and violence initially proved too much for the stage and Georges Bizet's opera was a critical failure on its premiere in 1875. Bizet died shortly after, never learning of the spectacular success Carmen would achieve -- it has been staged over 500 times at Covent Garden alone.
Carmen contains many well-loved numbers, such as Carmen's seductive Habaner...

published: 13 Dec 2013

The icing on the cake: The secrets of The Nutcracker's Sugar Plum Fairy (The Royal Ballet)

Insights into Rossini's Semiramide with Joyce DiDonato (The Royal Opera)

Join mezzo-soprano Joyce DiDonato as she explores Rossini's opera Semiramide. Find out more at http://www.roh.org.uk
Rossini wrote Semiramide in 1823, his last year in Italy before moving to Paris. The opera makes a fittingly magnificent finale to his Italian career: its astonishing structure and span anticipates the sophistication of his later masterpiece Guillaume Tell, while the blistering and virtuoso title role – written for Rossini’s wife Isabella Colbran – inspired many later composers, including Bellini in his Norma. Based on a story by Voltaire, the tragedy sees its characters wrestle against fate as the story propels them towards the harrowing finale, to music of magnificent beauty.
David Alden directs a new production for The Royal Opera. He describes Semiramide as ‘hard and p...

Vittorio Grigòlo sings the famous aria 'La donna è mobile' from Verdi's opera Rigoletto. Find out more at http://www.roh.org.uk/rigoletto
Giuseppe Verdi wrote in 1855 that Rigoletto, based on Victor Hugo’s play Le Roi s’amuse, was his ‘best opera’. He had had to overcome state censorship to stage it – the censors objected to its depiction of an immoral ruler – but he was vindicated by the premiere’s huge success in 1851. Rigoletto was performed 250 times in the next 10 years and has remained one of the most popular of all operas.
David McVicar’s production highlights the cruelty at the heart of the court of Mantua. Richly dressed courtiers engage in orgies and revelries to Verdi’s heady, spirited dances. The opera’s many musical highlights include the ebullient ‘La donna è mobile’, in wh...

published: 23 Oct 2017

Insights into Mozart's Magic Flute (The Royal Opera)

Join the cast of David McVicar's Royal Opera production as they explore one of the best-loved operas of all time. Find out more at http://www.roh.org.uk
The first Insights event of the 2016/17 Season will feature conductor Julia Jones exploring one of Mozart's most memorable scores, as well as insights from the cast including Siobhan Stagg (Pamina), Mauro Peter (Tamina) and Sabine Devielhe (the Queen of the Night). It will be presented by Roderick Williams, who will sing the role of Papageno in the upcoming run.
As well as being a comedy, The Magic Flute is an expression of its composer's profound spiritual beliefs with the search for wisdom and virtue are at its heart. The Magic Flute was an instant success with audiences and Mozart’s supposed rival Salieri described it as an ‘operone’ ...

What makes La bohème a dream-come-true for opera singers? (The Royal Opera)

The cast and creative team of The Royal Opera on what makes Puccini's opera La bohème a classic. Find out more at http://www.roh.org.uk/boheme
Acclaimed director Richard Jones (Boris Godunov, Il trittico) directs a new production of Puccini’s La bohème. Irresistible in its witty, passionate blend of comedy and tragedy, the opera focusses on the lives of a group of young artists as they eke out an existence on the bohemian fringes of Paris. Jones brings his characteristically acute insight to this much-loved classic, visualized in Stewart Laing’s spectacular, stylized designs.
Puccini’s romantic depiction of bohemian Paris, with wonderful music and a love story drawn from everyday life, has captivated audiences around the world, making La bohème one of the best-loved of all operas. It was...

La bohème trailer (The Royal Opera)

Antonio Pappano conducts a superb young cast including Nicole Car, Michael Fabiano and Mariusz Kwiecień in Richard Jones’s new production of Puccini’s passionate opera. Find out more at http://www.roh.org.uk/boheme
Acclaimed director Richard Jones (Boris Godunov, Il trittico) directs a new production of Puccini’s La bohème. Irresistible in its witty, passionate blend of comedy and tragedy, the opera focusses on the lives of a group of young artists as they eke out an existence on the bohemian fringes of Paris. Jones brings his characteristically acute insight to this much-loved classic, visualized in Stewart Laing’s spectacular, stylized designs.
Puccini’s romantic depiction of bohemian Paris, with wonderful music and a love story drawn from everyday life, has captivated audiences around...

published: 18 Aug 2017

Verdi’s 'Anvil Chorus' from Il trovatore (The Royal Opera)

Even for those who have never set foot in an opera house, Verdi's 'Anvil Chorus' is likely to be a familiar tune. Its rousing tune and rhythmic percussion - including, frequently, anvils played on stage on and off the beat - makes it something of an archetype for a bold, cheery Italian chorus.
Find out more at http://www.roh.org.uk/news/watch-verdi-anvil-chorus-il-trovatore

published: 20 Jul 2016

Carmen (Bizet) The Royal Opera

The Spanish heat and gypsy passion of Carmen take to the stage as The Royal Opera presents the first revival of Francesca Zambello's vibrant production with Tanya McCallin's richly coloured designs.
www.roh.org.uk
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www.twitter.com/royaloperahouse

The giant tap-dancing noses scene from Shostakovich's The Nose (The Royal Opera)

Shostakovich’s surreal and brilliant first opera tells the story of a man who wakes one morning to find that his nose has gone missing
Find out more at http://www.roh.org.uk/thenose
Shostakovich was only 20 when he began writing The Nose, his operatic debut. He turned to a tiny short story by Gogol: an absurdist satire, where a civil servant’s errant nose launches its owner on a ludicrous battle against both nose and the authorities, as bureaucratic processes break down in the face of so unusual a problem. Gogol’s surrealist fable fired Shostakovich’s imagination, and he responded with a work of exuberant energy, full of musical jokes and grotesque parody – from the famed Act I entr’acte for percussion ensemble to plaintive laments, careening counterpoint, folksong (accompanied by balalai...

The Royal Opera's new La bohème - a first glimpse (ROH Insight)

Join the cast and creative team of Richard Jones' hotly-anticipated new production as they explore one of the romantic of all operas. Find out more at http://ww...

Join the cast and creative team of Richard Jones' hotly-anticipated new production as they explore one of the romantic of all operas. Find out more at http://www.roh.org.uk/boheme
Acclaimed director Richard Jones (Boris Godunov, Il trittico) directs a new production of Puccini’s La bohème. Irresistible in its witty, passionate blend of comedy and tragedy, the opera focusses on the lives of a group of young artists as they eke out an existence on the bohemian fringes of Paris. Jones brings his characteristically acute insight to this much-loved classic, visualized in Stewart Laing’s spectacular, stylized designs.
Puccini’s romantic depiction of bohemian Paris, with wonderful music and a love story drawn from everyday life, has captivated audiences around the world, making La bohème one of the best-loved of all operas. It was first performed in Covent Garden in 1897 and has had more than five hundred performances here since.

Join the cast and creative team of Richard Jones' hotly-anticipated new production as they explore one of the romantic of all operas. Find out more at http://www.roh.org.uk/boheme
Acclaimed director Richard Jones (Boris Godunov, Il trittico) directs a new production of Puccini’s La bohème. Irresistible in its witty, passionate blend of comedy and tragedy, the opera focusses on the lives of a group of young artists as they eke out an existence on the bohemian fringes of Paris. Jones brings his characteristically acute insight to this much-loved classic, visualized in Stewart Laing’s spectacular, stylized designs.
Puccini’s romantic depiction of bohemian Paris, with wonderful music and a love story drawn from everyday life, has captivated audiences around the world, making La bohème one of the best-loved of all operas. It was first performed in Covent Garden in 1897 and has had more than five hundred performances here since.

Spanish heat and gypsy passion are brought to the stage in Francesca Zambello's vivid production of Bizet's opera: http://www.roh.org.uk/carmen
The Habanera is the aria Carmen sings when she first appears on stage. It is also known as 'L'amour est un oiseau rebelle'.
Carmen was based on a popular novella of the same name by Prosper Mérimée, which enticed French readers with exotic tales of Spain. Its heady combination of passion, sensuality and violence initially proved too much for the stage and Georges Bizet's opera was a critical failure on its premiere in 1875. Bizet died shortly after, never learning of the spectacular success Carmen would achieve -- it has been staged over 500 times at Covent Garden alone.
Carmen contains many well-loved numbers, such as Carmen's seductive Habanera and Escamillo's rousing Toreador's song, in which he celebrates the thrill of the bullfight. Richly coloured designs capture the sultry heat of the Spanish sun, while ranks of soldiers, crowds of peasants, gypsies and bullfighters bring 19th-centurySeville alive. This combination of memorable music, vivid setting and dramatic story have made Carmen one of the most popular operas in the world.

Spanish heat and gypsy passion are brought to the stage in Francesca Zambello's vivid production of Bizet's opera: http://www.roh.org.uk/carmen
The Habanera is the aria Carmen sings when she first appears on stage. It is also known as 'L'amour est un oiseau rebelle'.
Carmen was based on a popular novella of the same name by Prosper Mérimée, which enticed French readers with exotic tales of Spain. Its heady combination of passion, sensuality and violence initially proved too much for the stage and Georges Bizet's opera was a critical failure on its premiere in 1875. Bizet died shortly after, never learning of the spectacular success Carmen would achieve -- it has been staged over 500 times at Covent Garden alone.
Carmen contains many well-loved numbers, such as Carmen's seductive Habanera and Escamillo's rousing Toreador's song, in which he celebrates the thrill of the bullfight. Richly coloured designs capture the sultry heat of the Spanish sun, while ranks of soldiers, crowds of peasants, gypsies and bullfighters bring 19th-centurySeville alive. This combination of memorable music, vivid setting and dramatic story have made Carmen one of the most popular operas in the world.

published:13 Dec 2013

views:7673491

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The icing on the cake: The secrets of The Nutcracker's Sugar Plum Fairy (The Royal Ballet)

Join mezzo-soprano Joyce DiDonato as she explores Rossini's opera Semiramide. Find out more at http://www.roh.org.uk
Rossini wrote Semiramide in 1823, his last year in Italy before moving to Paris. The opera makes a fittingly magnificent finale to his Italian career: its astonishing structure and span anticipates the sophistication of his later masterpiece Guillaume Tell, while the blistering and virtuoso title role – written for Rossini’s wife Isabella Colbran – inspired many later composers, including Bellini in his Norma. Based on a story by Voltaire, the tragedy sees its characters wrestle against fate as the story propels them towards the harrowing finale, to music of magnificent beauty.
David Alden directs a new production for The Royal Opera. He describes Semiramide as ‘hard and political, almost as if it is carved out of stone, and what lies beneath is like a Greek tragedy’. He gives the opera a 20th-century setting, in which Semiramide rules an authoritarian state. He has assembled a team of regular collaborators to bring this late, great Rossini tragedy to the stage, in The Royal Opera’s first ever production.

Join mezzo-soprano Joyce DiDonato as she explores Rossini's opera Semiramide. Find out more at http://www.roh.org.uk
Rossini wrote Semiramide in 1823, his last year in Italy before moving to Paris. The opera makes a fittingly magnificent finale to his Italian career: its astonishing structure and span anticipates the sophistication of his later masterpiece Guillaume Tell, while the blistering and virtuoso title role – written for Rossini’s wife Isabella Colbran – inspired many later composers, including Bellini in his Norma. Based on a story by Voltaire, the tragedy sees its characters wrestle against fate as the story propels them towards the harrowing finale, to music of magnificent beauty.
David Alden directs a new production for The Royal Opera. He describes Semiramide as ‘hard and political, almost as if it is carved out of stone, and what lies beneath is like a Greek tragedy’. He gives the opera a 20th-century setting, in which Semiramide rules an authoritarian state. He has assembled a team of regular collaborators to bring this late, great Rossini tragedy to the stage, in The Royal Opera’s first ever production.

The priestess Norma leads her people in a prayer for peace. Sonya Yoncheva sings the title role in Bellini's masterpiece, with the Royal Opera Chorus and the Orchestra of the Royal Opera House conducted by Antonio Pappano, recorded September 2016. Find out more at http://www.roh.org.uk/norma
Bellini’s bel canto masterpiece Norma had its premiere at La Scala, Milan, on Boxing Day 1831. After a muted initial response the opera quickly became popular, and is now a mainstay of the repertory. Norma is perhaps most acclaimed as a vehicle for the lead soprano, most famously now by such 20th-century greats as Maria Callas, Montserrat Caballé and Joan Sutherland. Indeed, Bellini provides some astonishing vocal fireworks for his title character – most famously ‘Casta diva’, Norma’s Act I hymn to the chaste moon, and Act II’s ‘Dormono entrambi’, as she contemplates the unthinkable act of killing her children. But the opera’s dramatic potency rests in its breathtaking ensembles, most strikingly in Norma’s duets with Pollione and Adalgisa, the Act I trio ‘Vanne, sì: mi lascia, indegno’ and the blistering Act II finale.
This new production of Norma was The Royal Opera’s first in nearly thirty years. Directing is Àlex Ollé, of the Catalan collective La Fura dels Baus, reunited with the creative team behind his acclaimed production of Oedipe. They give Norma a contemporary setting against a backdrop of a cruel civil war, and focus on the opera’s exploration of the conflict between an individual’s own desires and those of her society – and of religion as a force for unity and for destruction.

The priestess Norma leads her people in a prayer for peace. Sonya Yoncheva sings the title role in Bellini's masterpiece, with the Royal Opera Chorus and the Orchestra of the Royal Opera House conducted by Antonio Pappano, recorded September 2016. Find out more at http://www.roh.org.uk/norma
Bellini’s bel canto masterpiece Norma had its premiere at La Scala, Milan, on Boxing Day 1831. After a muted initial response the opera quickly became popular, and is now a mainstay of the repertory. Norma is perhaps most acclaimed as a vehicle for the lead soprano, most famously now by such 20th-century greats as Maria Callas, Montserrat Caballé and Joan Sutherland. Indeed, Bellini provides some astonishing vocal fireworks for his title character – most famously ‘Casta diva’, Norma’s Act I hymn to the chaste moon, and Act II’s ‘Dormono entrambi’, as she contemplates the unthinkable act of killing her children. But the opera’s dramatic potency rests in its breathtaking ensembles, most strikingly in Norma’s duets with Pollione and Adalgisa, the Act I trio ‘Vanne, sì: mi lascia, indegno’ and the blistering Act II finale.
This new production of Norma was The Royal Opera’s first in nearly thirty years. Directing is Àlex Ollé, of the Catalan collective La Fura dels Baus, reunited with the creative team behind his acclaimed production of Oedipe. They give Norma a contemporary setting against a backdrop of a cruel civil war, and focus on the opera’s exploration of the conflict between an individual’s own desires and those of her society – and of religion as a force for unity and for destruction.

published:06 Oct 2016

views:145800

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The Magic Flute - Queen of the Night aria (Mozart; Diana Damrau, The Royal Opera)

SopranoDiana Damrau sings 'Der Hölle Rache', the famous Queen of the Night aria from Mozart's The Magic Flute. Find out more at http://www.roh.org.uk/flute
Mozart wrote Die Zauberflöte (The Magic Flute) for a suburban theatre in Vienna, the Theater auf der Wieden. He drew on the magical spectacle and earthy comedy of popular Viennese theatre. As well as being a comedy, The Magic Flute is an expression of Mozart’s profound spiritual beliefs: Enlightenment concerns with the search for wisdom and virtue are at the heart of this enchanting tale. The Magic Flute was an instant success with audiences and Mozart’s supposed rival Salieri described it as an ‘operone’ – a great opera.
David McVicar’s classic production embraces both the seriousness and comedy of Mozart’s work. The audience is transported to a fantastical world of dancing animals, flying machines and dazzlingly starry skies. The setting provides a wonderful backdrop for Mozart’s kaleidoscopic score, from the Queen of the Night’s coloratura fireworks to Tamino and Pamina’s lyrical love duets and Papageno’s hearty, folksong-like arias.

SopranoDiana Damrau sings 'Der Hölle Rache', the famous Queen of the Night aria from Mozart's The Magic Flute. Find out more at http://www.roh.org.uk/flute
Mozart wrote Die Zauberflöte (The Magic Flute) for a suburban theatre in Vienna, the Theater auf der Wieden. He drew on the magical spectacle and earthy comedy of popular Viennese theatre. As well as being a comedy, The Magic Flute is an expression of Mozart’s profound spiritual beliefs: Enlightenment concerns with the search for wisdom and virtue are at the heart of this enchanting tale. The Magic Flute was an instant success with audiences and Mozart’s supposed rival Salieri described it as an ‘operone’ – a great opera.
David McVicar’s classic production embraces both the seriousness and comedy of Mozart’s work. The audience is transported to a fantastical world of dancing animals, flying machines and dazzlingly starry skies. The setting provides a wonderful backdrop for Mozart’s kaleidoscopic score, from the Queen of the Night’s coloratura fireworks to Tamino and Pamina’s lyrical love duets and Papageno’s hearty, folksong-like arias.

Vittorio Grigòlo sings the famous aria 'La donna è mobile' from Verdi's opera Rigoletto. Find out more at http://www.roh.org.uk/rigoletto
Giuseppe Verdi wrote in 1855 that Rigoletto, based on Victor Hugo’s play Le Roi s’amuse, was his ‘best opera’. He had had to overcome state censorship to stage it – the censors objected to its depiction of an immoral ruler – but he was vindicated by the premiere’s huge success in 1851. Rigoletto was performed 250 times in the next 10 years and has remained one of the most popular of all operas.
David McVicar’s production highlights the cruelty at the heart of the court of Mantua. Richly dressed courtiers engage in orgies and revelries to Verdi’s heady, spirited dances. The opera’s many musical highlights include the ebullient ‘La donna è mobile’, in which the Duke boasts of his disregard for women; Gilda’s exquisite, plangent duets with Rigoletto and the Duke; and the gorgeous Act III quartet that beautifully weaves the voices together as the story quickens to its shattering conclusion.

Vittorio Grigòlo sings the famous aria 'La donna è mobile' from Verdi's opera Rigoletto. Find out more at http://www.roh.org.uk/rigoletto
Giuseppe Verdi wrote in 1855 that Rigoletto, based on Victor Hugo’s play Le Roi s’amuse, was his ‘best opera’. He had had to overcome state censorship to stage it – the censors objected to its depiction of an immoral ruler – but he was vindicated by the premiere’s huge success in 1851. Rigoletto was performed 250 times in the next 10 years and has remained one of the most popular of all operas.
David McVicar’s production highlights the cruelty at the heart of the court of Mantua. Richly dressed courtiers engage in orgies and revelries to Verdi’s heady, spirited dances. The opera’s many musical highlights include the ebullient ‘La donna è mobile’, in which the Duke boasts of his disregard for women; Gilda’s exquisite, plangent duets with Rigoletto and the Duke; and the gorgeous Act III quartet that beautifully weaves the voices together as the story quickens to its shattering conclusion.

Join the cast of David McVicar's Royal Opera production as they explore one of the best-loved operas of all time. Find out more at http://www.roh.org.uk
The first Insights event of the 2016/17 Season will feature conductor Julia Jones exploring one of Mozart's most memorable scores, as well as insights from the cast including Siobhan Stagg (Pamina), Mauro Peter (Tamina) and Sabine Devielhe (the Queen of the Night). It will be presented by Roderick Williams, who will sing the role of Papageno in the upcoming run.
As well as being a comedy, The Magic Flute is an expression of its composer's profound spiritual beliefs with the search for wisdom and virtue are at its heart. The Magic Flute was an instant success with audiences and Mozart’s supposed rival Salieri described it as an ‘operone’ – a great opera. Two centuries later, it continues to be one of the most popular of all operas, second only to Verdi'sLa traviata in terms of performances staged over the last five years according to Operabase.
***
Mozart wrote Die Zauberflöte (The Magic Flute) for a suburban theatre in Vienna, the Theater auf der Wieden. He drew on the magical spectacle and earthy comedy of popular Viennese theatre. As well as being a comedy, The Magic Flute is an expression of Mozart’s profound spiritual beliefs: Enlightenment concerns with the search for wisdom and virtue are at the heart of this enchanting tale. The Magic Flute was an instant success with audiences and Mozart’s supposed rival Salieri described it as an ‘operone’ – a great opera.
David McVicar’s classic production embraces both the seriousness and comedy of Mozart’s work. The audience is transported to a fantastical world of dancing animals, flying machines and dazzlingly starry skies. The setting provides a wonderful backdrop for Mozart’s kaleidoscopic score, from the Queen of the Night’s coloratura fireworks to Tamino and Pamina’s lyrical love duets and Papageno’s hearty, folksong-like arias.

Join the cast of David McVicar's Royal Opera production as they explore one of the best-loved operas of all time. Find out more at http://www.roh.org.uk
The first Insights event of the 2016/17 Season will feature conductor Julia Jones exploring one of Mozart's most memorable scores, as well as insights from the cast including Siobhan Stagg (Pamina), Mauro Peter (Tamina) and Sabine Devielhe (the Queen of the Night). It will be presented by Roderick Williams, who will sing the role of Papageno in the upcoming run.
As well as being a comedy, The Magic Flute is an expression of its composer's profound spiritual beliefs with the search for wisdom and virtue are at its heart. The Magic Flute was an instant success with audiences and Mozart’s supposed rival Salieri described it as an ‘operone’ – a great opera. Two centuries later, it continues to be one of the most popular of all operas, second only to Verdi'sLa traviata in terms of performances staged over the last five years according to Operabase.
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Mozart wrote Die Zauberflöte (The Magic Flute) for a suburban theatre in Vienna, the Theater auf der Wieden. He drew on the magical spectacle and earthy comedy of popular Viennese theatre. As well as being a comedy, The Magic Flute is an expression of Mozart’s profound spiritual beliefs: Enlightenment concerns with the search for wisdom and virtue are at the heart of this enchanting tale. The Magic Flute was an instant success with audiences and Mozart’s supposed rival Salieri described it as an ‘operone’ – a great opera.
David McVicar’s classic production embraces both the seriousness and comedy of Mozart’s work. The audience is transported to a fantastical world of dancing animals, flying machines and dazzlingly starry skies. The setting provides a wonderful backdrop for Mozart’s kaleidoscopic score, from the Queen of the Night’s coloratura fireworks to Tamino and Pamina’s lyrical love duets and Papageno’s hearty, folksong-like arias.

Saimir Pirgu, Venera Gimadieva and The Royal OperaChorus sing La traviata's famous drinking song. Find out more at www.roh.org.uk/traviata
‘A toast to the pleasures of life!’ – so sings Violetta, her new admirer Alfredo and her party guests in the opening scene of Giuseppe Verdi’s La traviata. But beneath the surface glamour of Violetta’s Parisian life run darker undercurrents: her doomed love for Alfredo and the tensions the lovers encounter when they break society’s conventions. La traviata, based on Alexandre Dumas fils’s play La Dame aux camélias, is one of Verdi’s most popular operas, combining drama, profound emotion and wonderful melodies.
Richard Eyre’s classic production conveys the indulgent social whirl of 19th-centuryParis. It provides a vivid setting for Verdi’s tuneful score, which includes such favourites as Violetta’s introspective ‘Ah fors’è lui’ and ecstatic ‘Sempre libera’; the duet ‘Pura siccome un angelo’ as Giorgio Germont begs Violetta to leave Alfredo; and ‘Parigi, o cara’, in which the lovers poignantly imagine a life that will never be theirs. The role of Violetta (the ‘fallen woman’ of the title) is one of Verdi’s most complex and enduring characters.

Saimir Pirgu, Venera Gimadieva and The Royal OperaChorus sing La traviata's famous drinking song. Find out more at www.roh.org.uk/traviata
‘A toast to the pleasures of life!’ – so sings Violetta, her new admirer Alfredo and her party guests in the opening scene of Giuseppe Verdi’s La traviata. But beneath the surface glamour of Violetta’s Parisian life run darker undercurrents: her doomed love for Alfredo and the tensions the lovers encounter when they break society’s conventions. La traviata, based on Alexandre Dumas fils’s play La Dame aux camélias, is one of Verdi’s most popular operas, combining drama, profound emotion and wonderful melodies.
Richard Eyre’s classic production conveys the indulgent social whirl of 19th-centuryParis. It provides a vivid setting for Verdi’s tuneful score, which includes such favourites as Violetta’s introspective ‘Ah fors’è lui’ and ecstatic ‘Sempre libera’; the duet ‘Pura siccome un angelo’ as Giorgio Germont begs Violetta to leave Alfredo; and ‘Parigi, o cara’, in which the lovers poignantly imagine a life that will never be theirs. The role of Violetta (the ‘fallen woman’ of the title) is one of Verdi’s most complex and enduring characters.

#OperaPassion - Behind the scenes with The Royal Opera

The Royal Opera, in partnership with seven of the UK's leading opera companies, BBC Arts and the V&A, is celebrating the passion and power of opera. Find out mo...

The Royal Opera, in partnership with seven of the UK's leading opera companies, BBC Arts and the V&A, is celebrating the passion and power of opera. Find out more at http://www.roh.org.uk
#OperaPassion Day will feature eight hours of activity from eight of the UK's leading opera companies: the Royal Opera House, English National Opera, English Touring Opera, Opera North, Glyndebourne, Welsh National Opera, Scottish Opera and Northern Ireland Opera will be busting the myths around the world of opera, through interviews, live performance, and never-before-seen archive footage.
Viewers will also get a window into the Opera: Passion, Power and Politics exhibition, created by the V&A in collaboration with the Royal Opera House.
Our live hour will be presented by DJ Nihal, and will be broadcast on FacebookLIVE from 11.30am. Highlights include:
- Backstage access into rehearsals for our upcoming production of Lucia di Lammermoor
- A sword fighting session with baritone Erwin Schrott
- A rare demonstration: do babies have the best vocal technique?
- George The Poet's first trip to the opera
- Operatic singing tips from the professionals, including a singing lesson live from the main stage
- A window into our wonderful Props department
And much more…
At 6.30pm, to celebrate the V&A’s landmark exhibition Opera: Passion, Power and Politics, the V&A and the Royal Opera House present a pop up performance at London'sSt Pancras Station: unsuspecting commuters will be treated to a live performance from members of the Royal Opera Chorus, inspired by the operas featured in the exhibition. The performance will also be livestreamed across the world. (Do come and sing along if you're in the area!)
The day will culminate in an operatic broadcast on BBC Radio 3, chosen through a public vote.

The Royal Opera, in partnership with seven of the UK's leading opera companies, BBC Arts and the V&A, is celebrating the passion and power of opera. Find out more at http://www.roh.org.uk
#OperaPassion Day will feature eight hours of activity from eight of the UK's leading opera companies: the Royal Opera House, English National Opera, English Touring Opera, Opera North, Glyndebourne, Welsh National Opera, Scottish Opera and Northern Ireland Opera will be busting the myths around the world of opera, through interviews, live performance, and never-before-seen archive footage.
Viewers will also get a window into the Opera: Passion, Power and Politics exhibition, created by the V&A in collaboration with the Royal Opera House.
Our live hour will be presented by DJ Nihal, and will be broadcast on FacebookLIVE from 11.30am. Highlights include:
- Backstage access into rehearsals for our upcoming production of Lucia di Lammermoor
- A sword fighting session with baritone Erwin Schrott
- A rare demonstration: do babies have the best vocal technique?
- George The Poet's first trip to the opera
- Operatic singing tips from the professionals, including a singing lesson live from the main stage
- A window into our wonderful Props department
And much more…
At 6.30pm, to celebrate the V&A’s landmark exhibition Opera: Passion, Power and Politics, the V&A and the Royal Opera House present a pop up performance at London'sSt Pancras Station: unsuspecting commuters will be treated to a live performance from members of the Royal Opera Chorus, inspired by the operas featured in the exhibition. The performance will also be livestreamed across the world. (Do come and sing along if you're in the area!)
The day will culminate in an operatic broadcast on BBC Radio 3, chosen through a public vote.

published:19 Oct 2017

views:7857

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What makes La bohème a dream-come-true for opera singers? (The Royal Opera)

The cast and creative team of The Royal Opera on what makes Puccini's opera La bohème a classic. Find out more at http://www.roh.org.uk/boheme
Acclaimed director Richard Jones (Boris Godunov, Il trittico) directs a new production of Puccini’s La bohème. Irresistible in its witty, passionate blend of comedy and tragedy, the opera focusses on the lives of a group of young artists as they eke out an existence on the bohemian fringes of Paris. Jones brings his characteristically acute insight to this much-loved classic, visualized in Stewart Laing’s spectacular, stylized designs.
Puccini’s romantic depiction of bohemian Paris, with wonderful music and a love story drawn from everyday life, has captivated audiences around the world, making La bohème one of the best-loved of all operas. It was first performed in Covent Garden in 1897 and has had more than five hundred performances here since.

The cast and creative team of The Royal Opera on what makes Puccini's opera La bohème a classic. Find out more at http://www.roh.org.uk/boheme
Acclaimed director Richard Jones (Boris Godunov, Il trittico) directs a new production of Puccini’s La bohème. Irresistible in its witty, passionate blend of comedy and tragedy, the opera focusses on the lives of a group of young artists as they eke out an existence on the bohemian fringes of Paris. Jones brings his characteristically acute insight to this much-loved classic, visualized in Stewart Laing’s spectacular, stylized designs.
Puccini’s romantic depiction of bohemian Paris, with wonderful music and a love story drawn from everyday life, has captivated audiences around the world, making La bohème one of the best-loved of all operas. It was first performed in Covent Garden in 1897 and has had more than five hundred performances here since.

Antonio Pappano conducts a superb young cast including Nicole Car, Michael Fabiano and Mariusz Kwiecień in Richard Jones’s new production of Puccini’s passionate opera. Find out more at http://www.roh.org.uk/boheme
Acclaimed director Richard Jones (Boris Godunov, Il trittico) directs a new production of Puccini’s La bohème. Irresistible in its witty, passionate blend of comedy and tragedy, the opera focusses on the lives of a group of young artists as they eke out an existence on the bohemian fringes of Paris. Jones brings his characteristically acute insight to this much-loved classic, visualized in Stewart Laing’s spectacular, stylized designs.
Puccini’s romantic depiction of bohemian Paris, with wonderful music and a love story drawn from everyday life, has captivated audiences around the world, making La bohème one of the best-loved of all operas. It was first performed in Covent Garden in 1897 and has had more than five hundred performances here since.

Antonio Pappano conducts a superb young cast including Nicole Car, Michael Fabiano and Mariusz Kwiecień in Richard Jones’s new production of Puccini’s passionate opera. Find out more at http://www.roh.org.uk/boheme
Acclaimed director Richard Jones (Boris Godunov, Il trittico) directs a new production of Puccini’s La bohème. Irresistible in its witty, passionate blend of comedy and tragedy, the opera focusses on the lives of a group of young artists as they eke out an existence on the bohemian fringes of Paris. Jones brings his characteristically acute insight to this much-loved classic, visualized in Stewart Laing’s spectacular, stylized designs.
Puccini’s romantic depiction of bohemian Paris, with wonderful music and a love story drawn from everyday life, has captivated audiences around the world, making La bohème one of the best-loved of all operas. It was first performed in Covent Garden in 1897 and has had more than five hundred performances here since.

Verdi’s 'Anvil Chorus' from Il trovatore (The Royal Opera)

Even for those who have never set foot in an opera house, Verdi's 'Anvil Chorus' is likely to be a familiar tune. Its rousing tune and rhythmic percussion - inc...

Even for those who have never set foot in an opera house, Verdi's 'Anvil Chorus' is likely to be a familiar tune. Its rousing tune and rhythmic percussion - including, frequently, anvils played on stage on and off the beat - makes it something of an archetype for a bold, cheery Italian chorus.
Find out more at http://www.roh.org.uk/news/watch-verdi-anvil-chorus-il-trovatore

Even for those who have never set foot in an opera house, Verdi's 'Anvil Chorus' is likely to be a familiar tune. Its rousing tune and rhythmic percussion - including, frequently, anvils played on stage on and off the beat - makes it something of an archetype for a bold, cheery Italian chorus.
Find out more at http://www.roh.org.uk/news/watch-verdi-anvil-chorus-il-trovatore

The Spanish heat and gypsy passion of Carmen take to the stage as The Royal Opera presents the first revival of Francesca Zambello's vibrant production with Tanya McCallin's richly coloured designs.
www.roh.org.uk
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www.twitter.com/royaloperahouse

The Spanish heat and gypsy passion of Carmen take to the stage as The Royal Opera presents the first revival of Francesca Zambello's vibrant production with Tanya McCallin's richly coloured designs.
www.roh.org.uk
www.facebook.com/royaloperahouse
www.twitter.com/royaloperahouse

Jonas Kaufmann, Antonio Pappano, Maria Agresta and other members of The Royal Opera on what makes Verdi'sOtello one of all opera's greatest challenges. Find out more at http://www.roh.org.uk/otello
Otello is Verdi’s final tragedy. After astonishing productivity in his early career, the composer slowed in later life; more than fifteen years separate Otello and its predecessor, Aida, although Verdi revised his earlier works Simon Boccanegra and Don Carlo in the interim. He was lured out of retirement by the composer and librettist Arrigo Boito, who tempted him with a proposal that was very close to Verdi’s heart: Shakespeare’sOthello. Boito adapted the libretto from Shakespeare’s play, with much intervention from Verdi. As the latest utterance from the master of Italian opera, the 1887 premiere was an instant success – but, more than that, Otello has been an important part of the international opera repertory ever since.
The Italian musical landscape had changed during Verdi’s period of isolation, with many of his compatriots finding inspiration in foreign operatic innovations. Verdi responds in Otello with music that looks back to the traditional forms and structures of Italian opera, but which carries an unmistakably different dramatic thrust and fluidity, in response to Shakespeare’s text. The results are thrilling: from the violent storm that opens the opera through to Iago’s blood-chilling Credo and Otello’s increasingly desperate duets with Desdemona. Keith Warner (Wozzeck, Der Ring des Nibelungen) directs a new production of this masterpiece, The Royal Opera’s first in 30 years.

Jonas Kaufmann, Antonio Pappano, Maria Agresta and other members of The Royal Opera on what makes Verdi'sOtello one of all opera's greatest challenges. Find out more at http://www.roh.org.uk/otello
Otello is Verdi’s final tragedy. After astonishing productivity in his early career, the composer slowed in later life; more than fifteen years separate Otello and its predecessor, Aida, although Verdi revised his earlier works Simon Boccanegra and Don Carlo in the interim. He was lured out of retirement by the composer and librettist Arrigo Boito, who tempted him with a proposal that was very close to Verdi’s heart: Shakespeare’sOthello. Boito adapted the libretto from Shakespeare’s play, with much intervention from Verdi. As the latest utterance from the master of Italian opera, the 1887 premiere was an instant success – but, more than that, Otello has been an important part of the international opera repertory ever since.
The Italian musical landscape had changed during Verdi’s period of isolation, with many of his compatriots finding inspiration in foreign operatic innovations. Verdi responds in Otello with music that looks back to the traditional forms and structures of Italian opera, but which carries an unmistakably different dramatic thrust and fluidity, in response to Shakespeare’s text. The results are thrilling: from the violent storm that opens the opera through to Iago’s blood-chilling Credo and Otello’s increasingly desperate duets with Desdemona. Keith Warner (Wozzeck, Der Ring des Nibelungen) directs a new production of this masterpiece, The Royal Opera’s first in 30 years.

JoinThe Royal Ballet as they rehearse Alice's Adventures in Wonderland. Find out more at http://www.roh.org.uk/alice
As well as sections featuring the cast being coached through sections of Christopher Wheeldon's modern classic, the livestream will also offer a closer look at the many props and puppets that bring Wonderland to life. The event will be presented by Royal BalletPrincipalAlexander Campbell.
Christopher Wheeldon’s Alice’s Adventures in Wonderland burst onto the stage in 2011 in an explosion of colour, stage magic and inventive, sophisticated choreography. Joby Talbot’s score combines contemporary soundworlds with sweeping melodies that gesture to ballet scores of the 19th century. Bob Crowley’s wildly imaginative, eye-popping designs draw on everything from puppetry to projections to make Wonderland wonderfully real.
Alice encounters a cast of extraordinary and instantly recognizable characters, from the highly strung Queen of Hearts – who performs a hilarious send-up of The Sleeping Beauty’s famous Rose Adage – to a playing card corps de ballet, a sinuous caterpillar and a tap-dancing Mad Hatter. But the ballet does not avoid the darker undercurrents of Lewis Carroll’s story: a nightmarish kitchen, an eerily disembodied Cheshire Cat and the unhinged tea party are all here in vivid detail. The delicious result shows The Royal Ballet at its best, bringing together world-class dance with enchanting family entertainment.

JoinThe Royal Ballet as they rehearse Alice's Adventures in Wonderland. Find out more at http://www.roh.org.uk/alice
As well as sections featuring the cast being coached through sections of Christopher Wheeldon's modern classic, the livestream will also offer a closer look at the many props and puppets that bring Wonderland to life. The event will be presented by Royal BalletPrincipalAlexander Campbell.
Christopher Wheeldon’s Alice’s Adventures in Wonderland burst onto the stage in 2011 in an explosion of colour, stage magic and inventive, sophisticated choreography. Joby Talbot’s score combines contemporary soundworlds with sweeping melodies that gesture to ballet scores of the 19th century. Bob Crowley’s wildly imaginative, eye-popping designs draw on everything from puppetry to projections to make Wonderland wonderfully real.
Alice encounters a cast of extraordinary and instantly recognizable characters, from the highly strung Queen of Hearts – who performs a hilarious send-up of The Sleeping Beauty’s famous Rose Adage – to a playing card corps de ballet, a sinuous caterpillar and a tap-dancing Mad Hatter. But the ballet does not avoid the darker undercurrents of Lewis Carroll’s story: a nightmarish kitchen, an eerily disembodied Cheshire Cat and the unhinged tea party are all here in vivid detail. The delicious result shows The Royal Ballet at its best, bringing together world-class dance with enchanting family entertainment.

published:12 Sep 2017

views:125607

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The giant tap-dancing noses scene from Shostakovich's The Nose (The Royal Opera)

Shostakovich’s surreal and brilliant first opera tells the story of a man who wakes one morning to find that his nose has gone missing
Find out more at http://w...

Shostakovich’s surreal and brilliant first opera tells the story of a man who wakes one morning to find that his nose has gone missing
Find out more at http://www.roh.org.uk/thenose
Shostakovich was only 20 when he began writing The Nose, his operatic debut. He turned to a tiny short story by Gogol: an absurdist satire, where a civil servant’s errant nose launches its owner on a ludicrous battle against both nose and the authorities, as bureaucratic processes break down in the face of so unusual a problem. Gogol’s surrealist fable fired Shostakovich’s imagination, and he responded with a work of exuberant energy, full of musical jokes and grotesque parody – from the famed Act I entr’acte for percussion ensemble to plaintive laments, careening counterpoint, folksong (accompanied by balalaika) and rambunctious polkas.
Shostakovich finished the work in about a year, and in the following months gave successful performances of extracts from the opera. But it was to be another two years, in 1930, before The Nose was staged in full, by which time Soviet cultural climate had turned sternly against works of such perceived frivolity. The opera was quickly dropped from the repertory; but since its rediscovery in the 1960s it has steadily gained recognition for Shostakovich’s baffling, brilliant wit. This new production is The Royal Opera’s first. Artistic Director of Berlin’s Komische OperBarrie Kosky directs, fresh from his triumphant production of Saul for Glyndebourne Festival. The Nose is performed in English, in a new translation by David Pountney.

Shostakovich’s surreal and brilliant first opera tells the story of a man who wakes one morning to find that his nose has gone missing
Find out more at http://www.roh.org.uk/thenose
Shostakovich was only 20 when he began writing The Nose, his operatic debut. He turned to a tiny short story by Gogol: an absurdist satire, where a civil servant’s errant nose launches its owner on a ludicrous battle against both nose and the authorities, as bureaucratic processes break down in the face of so unusual a problem. Gogol’s surrealist fable fired Shostakovich’s imagination, and he responded with a work of exuberant energy, full of musical jokes and grotesque parody – from the famed Act I entr’acte for percussion ensemble to plaintive laments, careening counterpoint, folksong (accompanied by balalaika) and rambunctious polkas.
Shostakovich finished the work in about a year, and in the following months gave successful performances of extracts from the opera. But it was to be another two years, in 1930, before The Nose was staged in full, by which time Soviet cultural climate had turned sternly against works of such perceived frivolity. The opera was quickly dropped from the repertory; but since its rediscovery in the 1960s it has steadily gained recognition for Shostakovich’s baffling, brilliant wit. This new production is The Royal Opera’s first. Artistic Director of Berlin’s Komische OperBarrie Kosky directs, fresh from his triumphant production of Saul for Glyndebourne Festival. The Nose is performed in English, in a new translation by David Pountney.

Rigoletto trailer (The Royal Opera)

Alexander Joel conducts two excellent casts led by Dimitri Platanias in David McVicar’s acclaimed production of Verdi’s potent and tragic opera. Find out more at http://www.roh.org.uk/rigoletto
Giuseppe Verdi wrote in 1855 that Rigoletto, based on Victor Hugo’s play Le Roi s’amuse, was his ‘best opera’. He had had to overcome state censorship to stage it – the censors objected to its depiction of an immoral ruler – but he was vindicated by the premiere’s huge success in 1851. Rigoletto was performed 250 times in the next 10 years and has remained one of the most popular of all operas.
David McVicar’s production highlights the cruelty at the heart of the court of Mantua. Richly dressed courtiers engage in orgies and revelries to Verdi’s heady, spirited dances. The opera’s many musical hig...

published: 10 Nov 2017

Insights into Rossini's Semiramide with Joyce DiDonato (The Royal Opera)

Join mezzo-soprano Joyce DiDonato as she explores Rossini's opera Semiramide. Find out more at http://www.roh.org.uk
Rossini wrote Semiramide in 1823, his last year in Italy before moving to Paris. The opera makes a fittingly magnificent finale to his Italian career: its astonishing structure and span anticipates the sophistication of his later masterpiece Guillaume Tell, while the blistering and virtuoso title role – written for Rossini’s wife Isabella Colbran – inspired many later composers, including Bellini in his Norma. Based on a story by Voltaire, the tragedy sees its characters wrestle against fate as the story propels them towards the harrowing finale, to music of magnificent beauty.
David Alden directs a new production for The Royal Opera. He describes Semiramide as ‘hard and p...

Dracula Sings His Way Into Sweden’s Royal Opera House

While American's prepare for Halloween — a holiday known for ghosts and goblins and costumed children going door-to-door and scaring candy from their neighbors — in the Swedish capital of Stockholm, a thousand people dressed as vampires from around the world descended upon the Royal Opera House for the final dress rehearsal of an opera about history’s best-known vampire. Arash Arabasadi reports.
Originally published at - https://www.voanews.com/a/dracula-sings-his-way-into-swedens-royal-opera-house/4090381.html

Antonio Pappano conducts Rossini’s epic tragedy with a cast including Joyce DiDonato, DanielaBarcellona and Lawrence Brownlee in a new production by David Alden. Find out more at http://www.roh.org.uk/semiramide
Rossini wrote Semiramide in 1823, his last year in Italy before moving to Paris. The opera makes a fittingly magnificent finale to his Italian career: its astonishing structure and span anticipates the sophistication of his later masterpiece Guillaume Tell, while the blistering and virtuoso title role – written for Rossini’s wife Isabella Colbran – inspired many later composers, including Bellini in his Norma. Based on a story by Voltaire, the tragedy sees its characters wrestle against fate as the story propels them towards the harrowing finale, to music of magnificent beauty.
David Alden directs a new production for The Royal Opera. He describes Semiramide as ‘hard and political, almost as if it is carved out of stone, and what lies beneath is like a Greek tragedy’. He gives the opera a 20th-century setting, in which Semiramide rules an authoritarian state. He has assembled a team of regular collaborators to bring this late, great Rossini tragedy to the stage, in The Royal Opera’s first ever production.

Antonio Pappano conducts Rossini’s epic tragedy with a cast including Joyce DiDonato, DanielaBarcellona and Lawrence Brownlee in a new production by David Alden. Find out more at http://www.roh.org.uk/semiramide
Rossini wrote Semiramide in 1823, his last year in Italy before moving to Paris. The opera makes a fittingly magnificent finale to his Italian career: its astonishing structure and span anticipates the sophistication of his later masterpiece Guillaume Tell, while the blistering and virtuoso title role – written for Rossini’s wife Isabella Colbran – inspired many later composers, including Bellini in his Norma. Based on a story by Voltaire, the tragedy sees its characters wrestle against fate as the story propels them towards the harrowing finale, to music of magnificent beauty.
David Alden directs a new production for The Royal Opera. He describes Semiramide as ‘hard and political, almost as if it is carved out of stone, and what lies beneath is like a Greek tragedy’. He gives the opera a 20th-century setting, in which Semiramide rules an authoritarian state. He has assembled a team of regular collaborators to bring this late, great Rossini tragedy to the stage, in The Royal Opera’s first ever production.

Alexander Joel conducts two excellent casts led by Dimitri Platanias in David McVicar’s acclaimed production of Verdi’s potent and tragic opera. Find out more at http://www.roh.org.uk/rigoletto
Giuseppe Verdi wrote in 1855 that Rigoletto, based on Victor Hugo’s play Le Roi s’amuse, was his ‘best opera’. He had had to overcome state censorship to stage it – the censors objected to its depiction of an immoral ruler – but he was vindicated by the premiere’s huge success in 1851. Rigoletto was performed 250 times in the next 10 years and has remained one of the most popular of all operas.
David McVicar’s production highlights the cruelty at the heart of the court of Mantua. Richly dressed courtiers engage in orgies and revelries to Verdi’s heady, spirited dances. The opera’s many musical highlights include the ebullient ‘La donna è mobile’, in which the Duke boasts of his disregard for women; Gilda’s exquisite, plangent duets with Rigoletto and the Duke; and the gorgeous Act III quartet that beautifully weaves the voices together as the story quickens to its shattering conclusion.

Alexander Joel conducts two excellent casts led by Dimitri Platanias in David McVicar’s acclaimed production of Verdi’s potent and tragic opera. Find out more at http://www.roh.org.uk/rigoletto
Giuseppe Verdi wrote in 1855 that Rigoletto, based on Victor Hugo’s play Le Roi s’amuse, was his ‘best opera’. He had had to overcome state censorship to stage it – the censors objected to its depiction of an immoral ruler – but he was vindicated by the premiere’s huge success in 1851. Rigoletto was performed 250 times in the next 10 years and has remained one of the most popular of all operas.
David McVicar’s production highlights the cruelty at the heart of the court of Mantua. Richly dressed courtiers engage in orgies and revelries to Verdi’s heady, spirited dances. The opera’s many musical highlights include the ebullient ‘La donna è mobile’, in which the Duke boasts of his disregard for women; Gilda’s exquisite, plangent duets with Rigoletto and the Duke; and the gorgeous Act III quartet that beautifully weaves the voices together as the story quickens to its shattering conclusion.

published:10 Nov 2017

views:15599

back

Insights into Rossini's Semiramide with Joyce DiDonato (The Royal Opera)

Join mezzo-soprano Joyce DiDonato as she explores Rossini's opera Semiramide. Find out more at http://www.roh.org.uk
Rossini wrote Semiramide in 1823, his last year in Italy before moving to Paris. The opera makes a fittingly magnificent finale to his Italian career: its astonishing structure and span anticipates the sophistication of his later masterpiece Guillaume Tell, while the blistering and virtuoso title role – written for Rossini’s wife Isabella Colbran – inspired many later composers, including Bellini in his Norma. Based on a story by Voltaire, the tragedy sees its characters wrestle against fate as the story propels them towards the harrowing finale, to music of magnificent beauty.
David Alden directs a new production for The Royal Opera. He describes Semiramide as ‘hard and political, almost as if it is carved out of stone, and what lies beneath is like a Greek tragedy’. He gives the opera a 20th-century setting, in which Semiramide rules an authoritarian state. He has assembled a team of regular collaborators to bring this late, great Rossini tragedy to the stage, in The Royal Opera’s first ever production.

Join mezzo-soprano Joyce DiDonato as she explores Rossini's opera Semiramide. Find out more at http://www.roh.org.uk
Rossini wrote Semiramide in 1823, his last year in Italy before moving to Paris. The opera makes a fittingly magnificent finale to his Italian career: its astonishing structure and span anticipates the sophistication of his later masterpiece Guillaume Tell, while the blistering and virtuoso title role – written for Rossini’s wife Isabella Colbran – inspired many later composers, including Bellini in his Norma. Based on a story by Voltaire, the tragedy sees its characters wrestle against fate as the story propels them towards the harrowing finale, to music of magnificent beauty.
David Alden directs a new production for The Royal Opera. He describes Semiramide as ‘hard and political, almost as if it is carved out of stone, and what lies beneath is like a Greek tragedy’. He gives the opera a 20th-century setting, in which Semiramide rules an authoritarian state. He has assembled a team of regular collaborators to bring this late, great Rossini tragedy to the stage, in The Royal Opera’s first ever production.

Dracula Sings His Way Into Sweden’s Royal Opera House

While American's prepare for Halloween — a holiday known for ghosts and goblins and costumed children going door-to-door and scaring candy from their neighbors ...

While American's prepare for Halloween — a holiday known for ghosts and goblins and costumed children going door-to-door and scaring candy from their neighbors — in the Swedish capital of Stockholm, a thousand people dressed as vampires from around the world descended upon the Royal Opera House for the final dress rehearsal of an opera about history’s best-known vampire. Arash Arabasadi reports.
Originally published at - https://www.voanews.com/a/dracula-sings-his-way-into-swedens-royal-opera-house/4090381.html

While American's prepare for Halloween — a holiday known for ghosts and goblins and costumed children going door-to-door and scaring candy from their neighbors — in the Swedish capital of Stockholm, a thousand people dressed as vampires from around the world descended upon the Royal Opera House for the final dress rehearsal of an opera about history’s best-known vampire. Arash Arabasadi reports.
Originally published at - https://www.voanews.com/a/dracula-sings-his-way-into-swedens-royal-opera-house/4090381.html

The Royal Opera's new La bohème - a first glimpse (ROH Insight)

Join the cast and creative team of Richard Jones' hotly-anticipated new production as they explore one of the romantic of all operas. Find out more at http://www.roh.org.uk/boheme
Acclaimed director Richard Jones (Boris Godunov, Il trittico) directs a new production of Puccini’s La bohème. Irresistible in its witty, passionate blend of comedy and tragedy, the opera focusses on the lives of a group of young artists as they eke out an existence on the bohemian fringes of Paris. Jones brings his characteristically acute insight to this much-loved classic, visualized in Stewart Laing’s spectacular, stylized designs.
Puccini’s romantic depiction of bohemian Paris, with wonderful music and a love story drawn from everyday life, has captivated audiences around the world, making La bohème one of...

published: 31 Aug 2017

Insights into Rossini's Semiramide with Joyce DiDonato (The Royal Opera)

Join mezzo-soprano Joyce DiDonato as she explores Rossini's opera Semiramide. Find out more at http://www.roh.org.uk
Rossini wrote Semiramide in 1823, his last year in Italy before moving to Paris. The opera makes a fittingly magnificent finale to his Italian career: its astonishing structure and span anticipates the sophistication of his later masterpiece Guillaume Tell, while the blistering and virtuoso title role – written for Rossini’s wife Isabella Colbran – inspired many later composers, including Bellini in his Norma. Based on a story by Voltaire, the tragedy sees its characters wrestle against fate as the story propels them towards the harrowing finale, to music of magnificent beauty.
David Alden directs a new production for The Royal Opera. He describes Semiramide as ‘hard and p...

published: 09 Nov 2017

A first glimpse of The Royal Ballet's Illustrated 'Farewell' with Twyla Tharp

JoinThe Royal Ballet as they prepare for the premiere of Twyla Tharp's new ballet. Find out more at http://www.roh.org.uk
Twyla Tharp occupies a rare position in choreography: she is as much an innovator of contemporary dance and theatre as she is a major ballet choreographer. She has created more than 160 works for dance companies, film and Broadway. She now makes a long overdue return to The Royal Ballet – more than twenty years after her first work for Covent Garden – to create a new work, The Illustrated ‘Farewell’, that returns to and expands upon 1973’s As Time Goes By.
In As Time Goes By Tharp set the final movements of Haydn’s ‘Farewell’ Symphony. For The Illustrated ‘Farewell’ she completes the symphony by setting the first two movements, creating a ‘prequel’ to her era-definin...

published: 25 Oct 2017

Insights into Mozart's Magic Flute (The Royal Opera)

Join the cast of David McVicar's Royal Opera production as they explore one of the best-loved operas of all time. Find out more at http://www.roh.org.uk
The first Insights event of the 2016/17 Season will feature conductor Julia Jones exploring one of Mozart's most memorable scores, as well as insights from the cast including Siobhan Stagg (Pamina), Mauro Peter (Tamina) and Sabine Devielhe (the Queen of the Night). It will be presented by Roderick Williams, who will sing the role of Papageno in the upcoming run.
As well as being a comedy, The Magic Flute is an expression of its composer's profound spiritual beliefs with the search for wisdom and virtue are at its heart. The Magic Flute was an instant success with audiences and Mozart’s supposed rival Salieri described it as an ‘operone’ ...

Les Enfants Terribles Insight featuring rehearsals (The Royal Ballet and The Royal Opera)

Join cast and creatives including Javier De Frutos as they explore this new production of Philip Glass's surrealist tragedy, on stage soon at the Barbican. Find out more at http://www.roh.org.uk/productions/les-enfants-terribles-by-javier-de-frutos
Les Enfants Terribles is the third in Philip Glass’s trilogy of works inspired by the writings of Jean Cocteau. In the first parts, Orphée and La Belle et la bête, Glass experimented with film and music – but for Les Enfants Terribles Glass ‘envisioned something different… singers and dancers would share centre stage’. This new production of Glass’s 1996 dance opera, part of the global festivities celebrating Glass’s 80th birthday, is choreographed and directed by the acclaimed choreographer Javier De Frutos – who himself has often found inspir...

Inside Opera: Becoming Zerlina - From first rehearsal to stage (The Royal Opera)

In a specially created documentary, follow soprano Elizabeth Watts as she takes on the role of Zerlina for the first time in Kasper Holten's production of Don Giovanni.
A film by Pinny Grylls.
Find out more at http://www.roh.org.uk/dongiovanni
Mozart's Don Giovanni -- first staged in 1787 -- offers boundless scope for directors. Kasper Holten's interpretation focuses on the power of the creative imagination. Don Giovanni is cast as an artist who seduces an endless stream of women through his ability to create wonderful illusions. His catalogue of sexual conquests is a vain attempt to escape his own mortality, and ultimately comes at a high price.
Holten's production is rich in both colourful comedy and exhilarating drama. Set designs by Es Devlin (Les Troyens) and costume designs by A...

The Royal Ballet rehearse 'The Wind'

Join choreographer ArthurPita and The Royal Ballet as they put the finishing touches to his new ballet, 'The Wind'. Find out more at http://www.roh.org.uk/mixed-programmes/the-illustrated-farewell-the-wind-untouchable
Arthur Pita has forged a distinctive career in British dance; his disquieting narrative works tell dark and strange stories through a vivid, visceral language of movement. His award-winning adaptation of Kafka’s Metamorphosis in 2011 for the Linbury Studio Theatre was a triumph. As well as creating works for his own company Pita has been commissioned by companies and figures from DanceEast to Natalia Osipova – creating a body of work whose strangeness and imaginativeness have earned Pita the nickname ‘the David Lynch of dance’.
Pita now makes his main-stage debut for The ...

published: 07 Nov 2017

The Legacy of Kenneth MacMillan (The Royal Ballet, Northern Ballet and Scottish Ballet)

Insights into Shostakovich's The Nose (The Royal Opera)

DirectorBarrie Kosky and members of the creative team present their vision for Shostakovich’s first opera, acclaimed for its biting wit, hilarious action and orchestral brilliance.
With ProfessorAndrew Kahn and singers Martin Winkler and RosieAldridge. Presented by Amy Lane.
Find out more at http://www.roh.org.uk/thenose
Shostakovich was only 20 when he began writing The Nose, his operatic debut. He turned to a tiny short story by Gogol: an absurdist satire, where a civil servant’s errant nose launches its owner on a ludicrous battle against both nose and the authorities, as bureaucratic processes break down in the face of so unusual a problem. Gogol’s surrealist fable fired Shostakovich’s imagination, and he responded with a work of exuberant energy, full of musical jokes and grotes...

The Royal Opera at Covent Garden

Watch our webinar to learn more about our eight-day tour, where you’ll immerse yourself in London’s opera. Hear from Fred Plotkin, an opera expert who joins our tour where you’ll discover one of the world’s top opera companies, London’s Royal Opera at Covent Garden, attend four superb operas and explore London’s cultural treasures.

published: 09 May 2017

Royal Ballet Class in full - World Ballet Day 2017

The Company run through their daily ballet class, filmed in full as part of WorldBallet Day 2017. Find out more at http://www.roh.org.uk
Each morning, the Company run through a series of exercises to warm up their bodies for a day of rehearsals and performances ahead. The session begins at the barre, before progressing to the centre of the room for a series of athletic jumps

published: 10 Oct 2017

Madama Butterfly Insight (The Royal Opera)

Discover the history of Madama Butterfly productions at the Royal Opera House with our interactive resource: http://www.roh.org.uk/interactives/madama-butterfly
Join soprano Ermonela Jaho as she discusses her upcoming role as Cio-Cio-San in Puccini’s beautiful opera. Find out more at http://www.roh.org.uk/butterfly
The event, hosted by Head Staff Director at Royal Opera House Amy Lane, will offer an in-depth look at Puccini’s heartbreaking opera and its history on stage at Covent Garden.
Lane will be joined by the star of this year’s revival, Albanian soprano Ermonela Jaho. Jaho sings the role of the tragic heroine Cio-Cio-San, the young Japanese bride of dashing American officer Lieutenant Pinkerton, who finds her romantic idyll shattered when he deserts her shortly after their marriag...

published: 14 Mar 2017

Insights into Otello with Jonas Kaufmann (The Royal Opera)

Join tenor Jonas Kaufmann and conductor Antonio Pappano as they explore Verdi'sOtello. Find out more at http://www.roh.org.uk/otello
Otello is Verdi’s final tragedy. After astonishing productivity in his early career, the composer slowed in later life; more than fifteen years separate Otello and its predecessor, Aida, although Verdi revised his earlier works Simon Boccanegra and Don Carlo in the interim. He was lured out of retirement by the composer and librettist Arrigo Boito, who tempted him with a proposal that was very close to Verdi’s heart: Shakespeare’sOthello. Boito adapted the libretto from Shakespeare’s play, with much intervention from Verdi. As the latest utterance from the master of Italian opera, the 1887 premiere was an instant success – but, more than that, Otello has b...

The Royal Opera's new La bohème - a first glimpse (ROH Insight)

Join the cast and creative team of Richard Jones' hotly-anticipated new production as they explore one of the romantic of all operas. Find out more at http://ww...

Join the cast and creative team of Richard Jones' hotly-anticipated new production as they explore one of the romantic of all operas. Find out more at http://www.roh.org.uk/boheme
Acclaimed director Richard Jones (Boris Godunov, Il trittico) directs a new production of Puccini’s La bohème. Irresistible in its witty, passionate blend of comedy and tragedy, the opera focusses on the lives of a group of young artists as they eke out an existence on the bohemian fringes of Paris. Jones brings his characteristically acute insight to this much-loved classic, visualized in Stewart Laing’s spectacular, stylized designs.
Puccini’s romantic depiction of bohemian Paris, with wonderful music and a love story drawn from everyday life, has captivated audiences around the world, making La bohème one of the best-loved of all operas. It was first performed in Covent Garden in 1897 and has had more than five hundred performances here since.

Join the cast and creative team of Richard Jones' hotly-anticipated new production as they explore one of the romantic of all operas. Find out more at http://www.roh.org.uk/boheme
Acclaimed director Richard Jones (Boris Godunov, Il trittico) directs a new production of Puccini’s La bohème. Irresistible in its witty, passionate blend of comedy and tragedy, the opera focusses on the lives of a group of young artists as they eke out an existence on the bohemian fringes of Paris. Jones brings his characteristically acute insight to this much-loved classic, visualized in Stewart Laing’s spectacular, stylized designs.
Puccini’s romantic depiction of bohemian Paris, with wonderful music and a love story drawn from everyday life, has captivated audiences around the world, making La bohème one of the best-loved of all operas. It was first performed in Covent Garden in 1897 and has had more than five hundred performances here since.

published:31 Aug 2017

views:27089

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Insights into Rossini's Semiramide with Joyce DiDonato (The Royal Opera)

Join mezzo-soprano Joyce DiDonato as she explores Rossini's opera Semiramide. Find out more at http://www.roh.org.uk
Rossini wrote Semiramide in 1823, his last year in Italy before moving to Paris. The opera makes a fittingly magnificent finale to his Italian career: its astonishing structure and span anticipates the sophistication of his later masterpiece Guillaume Tell, while the blistering and virtuoso title role – written for Rossini’s wife Isabella Colbran – inspired many later composers, including Bellini in his Norma. Based on a story by Voltaire, the tragedy sees its characters wrestle against fate as the story propels them towards the harrowing finale, to music of magnificent beauty.
David Alden directs a new production for The Royal Opera. He describes Semiramide as ‘hard and political, almost as if it is carved out of stone, and what lies beneath is like a Greek tragedy’. He gives the opera a 20th-century setting, in which Semiramide rules an authoritarian state. He has assembled a team of regular collaborators to bring this late, great Rossini tragedy to the stage, in The Royal Opera’s first ever production.

Join mezzo-soprano Joyce DiDonato as she explores Rossini's opera Semiramide. Find out more at http://www.roh.org.uk
Rossini wrote Semiramide in 1823, his last year in Italy before moving to Paris. The opera makes a fittingly magnificent finale to his Italian career: its astonishing structure and span anticipates the sophistication of his later masterpiece Guillaume Tell, while the blistering and virtuoso title role – written for Rossini’s wife Isabella Colbran – inspired many later composers, including Bellini in his Norma. Based on a story by Voltaire, the tragedy sees its characters wrestle against fate as the story propels them towards the harrowing finale, to music of magnificent beauty.
David Alden directs a new production for The Royal Opera. He describes Semiramide as ‘hard and political, almost as if it is carved out of stone, and what lies beneath is like a Greek tragedy’. He gives the opera a 20th-century setting, in which Semiramide rules an authoritarian state. He has assembled a team of regular collaborators to bring this late, great Rossini tragedy to the stage, in The Royal Opera’s first ever production.

published:09 Nov 2017

views:11693

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A first glimpse of The Royal Ballet's Illustrated 'Farewell' with Twyla Tharp

JoinThe Royal Ballet as they prepare for the premiere of Twyla Tharp's new ballet. Find out more at http://www.roh.org.uk
Twyla Tharp occupies a rare position in choreography: she is as much an innovator of contemporary dance and theatre as she is a major ballet choreographer. She has created more than 160 works for dance companies, film and Broadway. She now makes a long overdue return to The Royal Ballet – more than twenty years after her first work for Covent Garden – to create a new work, The Illustrated ‘Farewell’, that returns to and expands upon 1973’s As Time Goes By.
In As Time Goes By Tharp set the final movements of Haydn’s ‘Farewell’ Symphony. For The Illustrated ‘Farewell’ she completes the symphony by setting the first two movements, creating a ‘prequel’ to her era-defining work from 1973.

JoinThe Royal Ballet as they prepare for the premiere of Twyla Tharp's new ballet. Find out more at http://www.roh.org.uk
Twyla Tharp occupies a rare position in choreography: she is as much an innovator of contemporary dance and theatre as she is a major ballet choreographer. She has created more than 160 works for dance companies, film and Broadway. She now makes a long overdue return to The Royal Ballet – more than twenty years after her first work for Covent Garden – to create a new work, The Illustrated ‘Farewell’, that returns to and expands upon 1973’s As Time Goes By.
In As Time Goes By Tharp set the final movements of Haydn’s ‘Farewell’ Symphony. For The Illustrated ‘Farewell’ she completes the symphony by setting the first two movements, creating a ‘prequel’ to her era-defining work from 1973.

Join the cast of David McVicar's Royal Opera production as they explore one of the best-loved operas of all time. Find out more at http://www.roh.org.uk
The first Insights event of the 2016/17 Season will feature conductor Julia Jones exploring one of Mozart's most memorable scores, as well as insights from the cast including Siobhan Stagg (Pamina), Mauro Peter (Tamina) and Sabine Devielhe (the Queen of the Night). It will be presented by Roderick Williams, who will sing the role of Papageno in the upcoming run.
As well as being a comedy, The Magic Flute is an expression of its composer's profound spiritual beliefs with the search for wisdom and virtue are at its heart. The Magic Flute was an instant success with audiences and Mozart’s supposed rival Salieri described it as an ‘operone’ – a great opera. Two centuries later, it continues to be one of the most popular of all operas, second only to Verdi'sLa traviata in terms of performances staged over the last five years according to Operabase.
***
Mozart wrote Die Zauberflöte (The Magic Flute) for a suburban theatre in Vienna, the Theater auf der Wieden. He drew on the magical spectacle and earthy comedy of popular Viennese theatre. As well as being a comedy, The Magic Flute is an expression of Mozart’s profound spiritual beliefs: Enlightenment concerns with the search for wisdom and virtue are at the heart of this enchanting tale. The Magic Flute was an instant success with audiences and Mozart’s supposed rival Salieri described it as an ‘operone’ – a great opera.
David McVicar’s classic production embraces both the seriousness and comedy of Mozart’s work. The audience is transported to a fantastical world of dancing animals, flying machines and dazzlingly starry skies. The setting provides a wonderful backdrop for Mozart’s kaleidoscopic score, from the Queen of the Night’s coloratura fireworks to Tamino and Pamina’s lyrical love duets and Papageno’s hearty, folksong-like arias.

Join the cast of David McVicar's Royal Opera production as they explore one of the best-loved operas of all time. Find out more at http://www.roh.org.uk
The first Insights event of the 2016/17 Season will feature conductor Julia Jones exploring one of Mozart's most memorable scores, as well as insights from the cast including Siobhan Stagg (Pamina), Mauro Peter (Tamina) and Sabine Devielhe (the Queen of the Night). It will be presented by Roderick Williams, who will sing the role of Papageno in the upcoming run.
As well as being a comedy, The Magic Flute is an expression of its composer's profound spiritual beliefs with the search for wisdom and virtue are at its heart. The Magic Flute was an instant success with audiences and Mozart’s supposed rival Salieri described it as an ‘operone’ – a great opera. Two centuries later, it continues to be one of the most popular of all operas, second only to Verdi'sLa traviata in terms of performances staged over the last five years according to Operabase.
***
Mozart wrote Die Zauberflöte (The Magic Flute) for a suburban theatre in Vienna, the Theater auf der Wieden. He drew on the magical spectacle and earthy comedy of popular Viennese theatre. As well as being a comedy, The Magic Flute is an expression of Mozart’s profound spiritual beliefs: Enlightenment concerns with the search for wisdom and virtue are at the heart of this enchanting tale. The Magic Flute was an instant success with audiences and Mozart’s supposed rival Salieri described it as an ‘operone’ – a great opera.
David McVicar’s classic production embraces both the seriousness and comedy of Mozart’s work. The audience is transported to a fantastical world of dancing animals, flying machines and dazzlingly starry skies. The setting provides a wonderful backdrop for Mozart’s kaleidoscopic score, from the Queen of the Night’s coloratura fireworks to Tamino and Pamina’s lyrical love duets and Papageno’s hearty, folksong-like arias.

#OperaPassion - Behind the scenes with The Royal Opera

The Royal Opera, in partnership with seven of the UK's leading opera companies, BBC Arts and the V&A, is celebrating the passion and power of opera. Find out mo...

The Royal Opera, in partnership with seven of the UK's leading opera companies, BBC Arts and the V&A, is celebrating the passion and power of opera. Find out more at http://www.roh.org.uk
#OperaPassion Day will feature eight hours of activity from eight of the UK's leading opera companies: the Royal Opera House, English National Opera, English Touring Opera, Opera North, Glyndebourne, Welsh National Opera, Scottish Opera and Northern Ireland Opera will be busting the myths around the world of opera, through interviews, live performance, and never-before-seen archive footage.
Viewers will also get a window into the Opera: Passion, Power and Politics exhibition, created by the V&A in collaboration with the Royal Opera House.
Our live hour will be presented by DJ Nihal, and will be broadcast on FacebookLIVE from 11.30am. Highlights include:
- Backstage access into rehearsals for our upcoming production of Lucia di Lammermoor
- A sword fighting session with baritone Erwin Schrott
- A rare demonstration: do babies have the best vocal technique?
- George The Poet's first trip to the opera
- Operatic singing tips from the professionals, including a singing lesson live from the main stage
- A window into our wonderful Props department
And much more…
At 6.30pm, to celebrate the V&A’s landmark exhibition Opera: Passion, Power and Politics, the V&A and the Royal Opera House present a pop up performance at London'sSt Pancras Station: unsuspecting commuters will be treated to a live performance from members of the Royal Opera Chorus, inspired by the operas featured in the exhibition. The performance will also be livestreamed across the world. (Do come and sing along if you're in the area!)
The day will culminate in an operatic broadcast on BBC Radio 3, chosen through a public vote.

The Royal Opera, in partnership with seven of the UK's leading opera companies, BBC Arts and the V&A, is celebrating the passion and power of opera. Find out more at http://www.roh.org.uk
#OperaPassion Day will feature eight hours of activity from eight of the UK's leading opera companies: the Royal Opera House, English National Opera, English Touring Opera, Opera North, Glyndebourne, Welsh National Opera, Scottish Opera and Northern Ireland Opera will be busting the myths around the world of opera, through interviews, live performance, and never-before-seen archive footage.
Viewers will also get a window into the Opera: Passion, Power and Politics exhibition, created by the V&A in collaboration with the Royal Opera House.
Our live hour will be presented by DJ Nihal, and will be broadcast on FacebookLIVE from 11.30am. Highlights include:
- Backstage access into rehearsals for our upcoming production of Lucia di Lammermoor
- A sword fighting session with baritone Erwin Schrott
- A rare demonstration: do babies have the best vocal technique?
- George The Poet's first trip to the opera
- Operatic singing tips from the professionals, including a singing lesson live from the main stage
- A window into our wonderful Props department
And much more…
At 6.30pm, to celebrate the V&A’s landmark exhibition Opera: Passion, Power and Politics, the V&A and the Royal Opera House present a pop up performance at London'sSt Pancras Station: unsuspecting commuters will be treated to a live performance from members of the Royal Opera Chorus, inspired by the operas featured in the exhibition. The performance will also be livestreamed across the world. (Do come and sing along if you're in the area!)
The day will culminate in an operatic broadcast on BBC Radio 3, chosen through a public vote.

Les Enfants Terribles Insight featuring rehearsals (The Royal Ballet and The Royal Opera)

Join cast and creatives including Javier De Frutos as they explore this new production of Philip Glass's surrealist tragedy, on stage soon at the Barbican. Find...

Join cast and creatives including Javier De Frutos as they explore this new production of Philip Glass's surrealist tragedy, on stage soon at the Barbican. Find out more at http://www.roh.org.uk/productions/les-enfants-terribles-by-javier-de-frutos
Les Enfants Terribles is the third in Philip Glass’s trilogy of works inspired by the writings of Jean Cocteau. In the first parts, Orphée and La Belle et la bête, Glass experimented with film and music – but for Les Enfants Terribles Glass ‘envisioned something different… singers and dancers would share centre stage’. This new production of Glass’s 1996 dance opera, part of the global festivities celebrating Glass’s 80th birthday, is choreographed and directed by the acclaimed choreographer Javier De Frutos – who himself has often found inspiration in Cocteau.
For Glass, Les Enfants Terribles is Cocteau’s ‘tragedy… it articulates Cocteau’s belief in the power of imagination to transform the ordinary world into a world of magic’. Thus a snowball becomes a ball of poison and a childish game a fierce struggle to the death. Principals of The Royal Ballet and leading lights of the classical and contemporary dance scene join celebrated singers, including members of the Jette Parker Young Artists Programme, to tell their versions of a world that has come unhooked from reality.

Join cast and creatives including Javier De Frutos as they explore this new production of Philip Glass's surrealist tragedy, on stage soon at the Barbican. Find out more at http://www.roh.org.uk/productions/les-enfants-terribles-by-javier-de-frutos
Les Enfants Terribles is the third in Philip Glass’s trilogy of works inspired by the writings of Jean Cocteau. In the first parts, Orphée and La Belle et la bête, Glass experimented with film and music – but for Les Enfants Terribles Glass ‘envisioned something different… singers and dancers would share centre stage’. This new production of Glass’s 1996 dance opera, part of the global festivities celebrating Glass’s 80th birthday, is choreographed and directed by the acclaimed choreographer Javier De Frutos – who himself has often found inspiration in Cocteau.
For Glass, Les Enfants Terribles is Cocteau’s ‘tragedy… it articulates Cocteau’s belief in the power of imagination to transform the ordinary world into a world of magic’. Thus a snowball becomes a ball of poison and a childish game a fierce struggle to the death. Principals of The Royal Ballet and leading lights of the classical and contemporary dance scene join celebrated singers, including members of the Jette Parker Young Artists Programme, to tell their versions of a world that has come unhooked from reality.

JoinThe Royal Ballet as they rehearse Alice's Adventures in Wonderland. Find out more at http://www.roh.org.uk/alice
As well as sections featuring the cast being coached through sections of Christopher Wheeldon's modern classic, the livestream will also offer a closer look at the many props and puppets that bring Wonderland to life. The event will be presented by Royal BalletPrincipalAlexander Campbell.
Christopher Wheeldon’s Alice’s Adventures in Wonderland burst onto the stage in 2011 in an explosion of colour, stage magic and inventive, sophisticated choreography. Joby Talbot’s score combines contemporary soundworlds with sweeping melodies that gesture to ballet scores of the 19th century. Bob Crowley’s wildly imaginative, eye-popping designs draw on everything from puppetry to projections to make Wonderland wonderfully real.
Alice encounters a cast of extraordinary and instantly recognizable characters, from the highly strung Queen of Hearts – who performs a hilarious send-up of The Sleeping Beauty’s famous Rose Adage – to a playing card corps de ballet, a sinuous caterpillar and a tap-dancing Mad Hatter. But the ballet does not avoid the darker undercurrents of Lewis Carroll’s story: a nightmarish kitchen, an eerily disembodied Cheshire Cat and the unhinged tea party are all here in vivid detail. The delicious result shows The Royal Ballet at its best, bringing together world-class dance with enchanting family entertainment.

JoinThe Royal Ballet as they rehearse Alice's Adventures in Wonderland. Find out more at http://www.roh.org.uk/alice
As well as sections featuring the cast being coached through sections of Christopher Wheeldon's modern classic, the livestream will also offer a closer look at the many props and puppets that bring Wonderland to life. The event will be presented by Royal BalletPrincipalAlexander Campbell.
Christopher Wheeldon’s Alice’s Adventures in Wonderland burst onto the stage in 2011 in an explosion of colour, stage magic and inventive, sophisticated choreography. Joby Talbot’s score combines contemporary soundworlds with sweeping melodies that gesture to ballet scores of the 19th century. Bob Crowley’s wildly imaginative, eye-popping designs draw on everything from puppetry to projections to make Wonderland wonderfully real.
Alice encounters a cast of extraordinary and instantly recognizable characters, from the highly strung Queen of Hearts – who performs a hilarious send-up of The Sleeping Beauty’s famous Rose Adage – to a playing card corps de ballet, a sinuous caterpillar and a tap-dancing Mad Hatter. But the ballet does not avoid the darker undercurrents of Lewis Carroll’s story: a nightmarish kitchen, an eerily disembodied Cheshire Cat and the unhinged tea party are all here in vivid detail. The delicious result shows The Royal Ballet at its best, bringing together world-class dance with enchanting family entertainment.

published:12 Sep 2017

views:125607

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Inside Opera: Becoming Zerlina - From first rehearsal to stage (The Royal Opera)

In a specially created documentary, follow soprano Elizabeth Watts as she takes on the role of Zerlina for the first time in Kasper Holten's production of Don Giovanni.
A film by Pinny Grylls.
Find out more at http://www.roh.org.uk/dongiovanni
Mozart's Don Giovanni -- first staged in 1787 -- offers boundless scope for directors. Kasper Holten's interpretation focuses on the power of the creative imagination. Don Giovanni is cast as an artist who seduces an endless stream of women through his ability to create wonderful illusions. His catalogue of sexual conquests is a vain attempt to escape his own mortality, and ultimately comes at a high price.
Holten's production is rich in both colourful comedy and exhilarating drama. Set designs by Es Devlin (Les Troyens) and costume designs by Anja Vang Kragh (Stella McCartney, John Galliano for Christian Dior), with video projections by Luke Halls and choreography by Signe Fabricius, portray the visually entrancing world of Don Giovanni. At the heart of the production are the beauty and invention of Mozart's dazzling score, which ranges from gorgeous arias and dramatic duets to the brilliant layering of dance melodies that bring Act I to a virtuoso close.

In a specially created documentary, follow soprano Elizabeth Watts as she takes on the role of Zerlina for the first time in Kasper Holten's production of Don Giovanni.
A film by Pinny Grylls.
Find out more at http://www.roh.org.uk/dongiovanni
Mozart's Don Giovanni -- first staged in 1787 -- offers boundless scope for directors. Kasper Holten's interpretation focuses on the power of the creative imagination. Don Giovanni is cast as an artist who seduces an endless stream of women through his ability to create wonderful illusions. His catalogue of sexual conquests is a vain attempt to escape his own mortality, and ultimately comes at a high price.
Holten's production is rich in both colourful comedy and exhilarating drama. Set designs by Es Devlin (Les Troyens) and costume designs by Anja Vang Kragh (Stella McCartney, John Galliano for Christian Dior), with video projections by Luke Halls and choreography by Signe Fabricius, portray the visually entrancing world of Don Giovanni. At the heart of the production are the beauty and invention of Mozart's dazzling score, which ranges from gorgeous arias and dramatic duets to the brilliant layering of dance melodies that bring Act I to a virtuoso close.

JoinBryn Terfel, Antonio Pappano and Kasper Holten as they explore Wagner's iconic opera. Find out more at http://www.roh.org.uk/meistersinger
The event will see the director give a first glimpse of his production, as well as insights into the score from Music Director Antonio Pappano and bass-baritone Bryn Terfel.
This production of Die Meistersinger sees Kasper Holten's make his farewell as The Royal Opera’s Director of Opera. In it, he explores parallels between the hierarchical, tradition-bound ways of the Meistersingers and the historical ritual and pageantry still evident in today’s London – thus teasing out Wagner’s wider considerations on the relationship between audiences, critics and artists.
Wagner’s Die Meistersinger von Nürnberg celebrates and investigates the nature of art, through music of great warmth and extraordinary technical accomplishment. It is Wagner’s only mature comedy, and for it he created a cast of strong characters led by the cobbler Hans Sachs, inspired by the real-life 16th-century Meistersinger. Musical highlights abound: the triumphant overture, the astonishing Midsummer riot and Walther’s winning Prize Song ‘Morgenlich leuchtend in rosigem Schein’, culminating in an overwhelming final celebration of the value of national culture. However, this very German nationalism has long exposed the opera to particular scrutiny, making Die Meistersinger the most complexly received opera in Wagner’s output.
Kasper Holten ends his tenure as The Royal Opera’s Director of Opera with this new production. He finds parallels between the hierarchical, tradition-bound ways of the Meistersingers and the historical ritual and pageantry still evident in today’s London – thus teasing out Wagner’s wider considerations on the relationship between audiences, critics and artists. Regular collaborators Mia Stensgaard and Anja Vang Kragh create the designs.

JoinBryn Terfel, Antonio Pappano and Kasper Holten as they explore Wagner's iconic opera. Find out more at http://www.roh.org.uk/meistersinger
The event will see the director give a first glimpse of his production, as well as insights into the score from Music Director Antonio Pappano and bass-baritone Bryn Terfel.
This production of Die Meistersinger sees Kasper Holten's make his farewell as The Royal Opera’s Director of Opera. In it, he explores parallels between the hierarchical, tradition-bound ways of the Meistersingers and the historical ritual and pageantry still evident in today’s London – thus teasing out Wagner’s wider considerations on the relationship between audiences, critics and artists.
Wagner’s Die Meistersinger von Nürnberg celebrates and investigates the nature of art, through music of great warmth and extraordinary technical accomplishment. It is Wagner’s only mature comedy, and for it he created a cast of strong characters led by the cobbler Hans Sachs, inspired by the real-life 16th-century Meistersinger. Musical highlights abound: the triumphant overture, the astonishing Midsummer riot and Walther’s winning Prize Song ‘Morgenlich leuchtend in rosigem Schein’, culminating in an overwhelming final celebration of the value of national culture. However, this very German nationalism has long exposed the opera to particular scrutiny, making Die Meistersinger the most complexly received opera in Wagner’s output.
Kasper Holten ends his tenure as The Royal Opera’s Director of Opera with this new production. He finds parallels between the hierarchical, tradition-bound ways of the Meistersingers and the historical ritual and pageantry still evident in today’s London – thus teasing out Wagner’s wider considerations on the relationship between audiences, critics and artists. Regular collaborators Mia Stensgaard and Anja Vang Kragh create the designs.

Join choreographer ArthurPita and The Royal Ballet as they put the finishing touches to his new ballet, 'The Wind'. Find out more at http://www.roh.org.uk/mixed-programmes/the-illustrated-farewell-the-wind-untouchable
Arthur Pita has forged a distinctive career in British dance; his disquieting narrative works tell dark and strange stories through a vivid, visceral language of movement. His award-winning adaptation of Kafka’s Metamorphosis in 2011 for the Linbury Studio Theatre was a triumph. As well as creating works for his own company Pita has been commissioned by companies and figures from DanceEast to Natalia Osipova – creating a body of work whose strangeness and imaginativeness have earned Pita the nickname ‘the David Lynch of dance’.
Pita now makes his main-stage debut for The Royal Ballet with The Wind. He takes as his inspiration Dorothy Scarborough’s controversial 1925 novel, now considered a seminal work of Texan literature, and the 1928 silent movie classic it inspired, which starred Lillian Gish. The ballet comes with a new score by FrankMoon, whose fantastical, inventive music has accompanied most of Pita’s work.

Join choreographer ArthurPita and The Royal Ballet as they put the finishing touches to his new ballet, 'The Wind'. Find out more at http://www.roh.org.uk/mixed-programmes/the-illustrated-farewell-the-wind-untouchable
Arthur Pita has forged a distinctive career in British dance; his disquieting narrative works tell dark and strange stories through a vivid, visceral language of movement. His award-winning adaptation of Kafka’s Metamorphosis in 2011 for the Linbury Studio Theatre was a triumph. As well as creating works for his own company Pita has been commissioned by companies and figures from DanceEast to Natalia Osipova – creating a body of work whose strangeness and imaginativeness have earned Pita the nickname ‘the David Lynch of dance’.
Pita now makes his main-stage debut for The Royal Ballet with The Wind. He takes as his inspiration Dorothy Scarborough’s controversial 1925 novel, now considered a seminal work of Texan literature, and the 1928 silent movie classic it inspired, which starred Lillian Gish. The ballet comes with a new score by FrankMoon, whose fantastical, inventive music has accompanied most of Pita’s work.

published:07 Nov 2017

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The Legacy of Kenneth MacMillan (The Royal Ballet, Northern Ballet and Scottish Ballet)

DirectorBarrie Kosky and members of the creative team present their vision for Shostakovich’s first opera, acclaimed for its biting wit, hilarious action and orchestral brilliance.
With ProfessorAndrew Kahn and singers Martin Winkler and RosieAldridge. Presented by Amy Lane.
Find out more at http://www.roh.org.uk/thenose
Shostakovich was only 20 when he began writing The Nose, his operatic debut. He turned to a tiny short story by Gogol: an absurdist satire, where a civil servant’s errant nose launches its owner on a ludicrous battle against both nose and the authorities, as bureaucratic processes break down in the face of so unusual a problem. Gogol’s surrealist fable fired Shostakovich’s imagination, and he responded with a work of exuberant energy, full of musical jokes and grotesque parody – from the famed Act I entr’acte for percussion ensemble to plaintive laments, careening counterpoint, folksong (accompanied by balalaika) and rambunctious polkas.
Shostakovich finished the work in about a year, and in the following months gave successful performances of extracts from the opera. But it was to be another two years, in 1930, before The Nose was staged in full, by which time Soviet cultural climate had turned sternly against works of such perceived frivolity. The opera was quickly dropped from the repertory; but since its rediscovery in the 1960s it has steadily gained recognition for Shostakovich’s baffling, brilliant wit. This new production is The Royal Opera’s first. Artistic Director of Berlin’s Komische Oper Barrie Kosky directs, fresh from his triumphant production of Saul for Glyndebourne Festival. The Nose is performed in English, in a new translation by David Pountney.

DirectorBarrie Kosky and members of the creative team present their vision for Shostakovich’s first opera, acclaimed for its biting wit, hilarious action and orchestral brilliance.
With ProfessorAndrew Kahn and singers Martin Winkler and RosieAldridge. Presented by Amy Lane.
Find out more at http://www.roh.org.uk/thenose
Shostakovich was only 20 when he began writing The Nose, his operatic debut. He turned to a tiny short story by Gogol: an absurdist satire, where a civil servant’s errant nose launches its owner on a ludicrous battle against both nose and the authorities, as bureaucratic processes break down in the face of so unusual a problem. Gogol’s surrealist fable fired Shostakovich’s imagination, and he responded with a work of exuberant energy, full of musical jokes and grotesque parody – from the famed Act I entr’acte for percussion ensemble to plaintive laments, careening counterpoint, folksong (accompanied by balalaika) and rambunctious polkas.
Shostakovich finished the work in about a year, and in the following months gave successful performances of extracts from the opera. But it was to be another two years, in 1930, before The Nose was staged in full, by which time Soviet cultural climate had turned sternly against works of such perceived frivolity. The opera was quickly dropped from the repertory; but since its rediscovery in the 1960s it has steadily gained recognition for Shostakovich’s baffling, brilliant wit. This new production is The Royal Opera’s first. Artistic Director of Berlin’s Komische Oper Barrie Kosky directs, fresh from his triumphant production of Saul for Glyndebourne Festival. The Nose is performed in English, in a new translation by David Pountney.

Watch our webinar to learn more about our eight-day tour, where you’ll immerse yourself in London’s opera. Hear from Fred Plotkin, an opera expert who joins our tour where you’ll discover one of the world’s top opera companies, London’s Royal Opera at Covent Garden, attend four superb operas and explore London’s cultural treasures.

Watch our webinar to learn more about our eight-day tour, where you’ll immerse yourself in London’s opera. Hear from Fred Plotkin, an opera expert who joins our tour where you’ll discover one of the world’s top opera companies, London’s Royal Opera at Covent Garden, attend four superb operas and explore London’s cultural treasures.

The Company run through their daily ballet class, filmed in full as part of WorldBallet Day 2017. Find out more at http://www.roh.org.uk
Each morning, the Company run through a series of exercises to warm up their bodies for a day of rehearsals and performances ahead. The session begins at the barre, before progressing to the centre of the room for a series of athletic jumps

The Company run through their daily ballet class, filmed in full as part of WorldBallet Day 2017. Find out more at http://www.roh.org.uk
Each morning, the Company run through a series of exercises to warm up their bodies for a day of rehearsals and performances ahead. The session begins at the barre, before progressing to the centre of the room for a series of athletic jumps

Discover the history of Madama Butterfly productions at the Royal Opera House with our interactive resource: http://www.roh.org.uk/interactives/madama-butterfly
Join soprano Ermonela Jaho as she discusses her upcoming role as Cio-Cio-San in Puccini’s beautiful opera. Find out more at http://www.roh.org.uk/butterfly
The event, hosted by Head Staff Director at Royal Opera House Amy Lane, will offer an in-depth look at Puccini’s heartbreaking opera and its history on stage at Covent Garden.
Lane will be joined by the star of this year’s revival, Albanian soprano Ermonela Jaho. Jaho sings the role of the tragic heroine Cio-Cio-San, the young Japanese bride of dashing American officer Lieutenant Pinkerton, who finds her romantic idyll shattered when he deserts her shortly after their marriage.
In addition, journalist Lesley Downer will offer a closer look at Japan in the 19th century and the role of the Sadayakko, also known as a Japanese geisha or dancer.
The Insights event will include several performance excerpts including the opera’s famous flower duet and 'Un bel di vedremo'.
Explore the opera further in the Madama Butterfly DigitalProgramme (free with promocode FREEBUTTERFLY)
http://www.roh.org.uk/publications/madama-butterfly-digital-programme

Discover the history of Madama Butterfly productions at the Royal Opera House with our interactive resource: http://www.roh.org.uk/interactives/madama-butterfly
Join soprano Ermonela Jaho as she discusses her upcoming role as Cio-Cio-San in Puccini’s beautiful opera. Find out more at http://www.roh.org.uk/butterfly
The event, hosted by Head Staff Director at Royal Opera House Amy Lane, will offer an in-depth look at Puccini’s heartbreaking opera and its history on stage at Covent Garden.
Lane will be joined by the star of this year’s revival, Albanian soprano Ermonela Jaho. Jaho sings the role of the tragic heroine Cio-Cio-San, the young Japanese bride of dashing American officer Lieutenant Pinkerton, who finds her romantic idyll shattered when he deserts her shortly after their marriage.
In addition, journalist Lesley Downer will offer a closer look at Japan in the 19th century and the role of the Sadayakko, also known as a Japanese geisha or dancer.
The Insights event will include several performance excerpts including the opera’s famous flower duet and 'Un bel di vedremo'.
Explore the opera further in the Madama Butterfly DigitalProgramme (free with promocode FREEBUTTERFLY)
http://www.roh.org.uk/publications/madama-butterfly-digital-programme

Join tenor Jonas Kaufmann and conductor Antonio Pappano as they explore Verdi'sOtello. Find out more at http://www.roh.org.uk/otello
Otello is Verdi’s final tragedy. After astonishing productivity in his early career, the composer slowed in later life; more than fifteen years separate Otello and its predecessor, Aida, although Verdi revised his earlier works Simon Boccanegra and Don Carlo in the interim. He was lured out of retirement by the composer and librettist Arrigo Boito, who tempted him with a proposal that was very close to Verdi’s heart: Shakespeare’sOthello. Boito adapted the libretto from Shakespeare’s play, with much intervention from Verdi. As the latest utterance from the master of Italian opera, the 1887 premiere was an instant success – but, more than that, Otello has been an important part of the international opera repertory ever since.
The Italian musical landscape had changed during Verdi’s period of isolation, with many of his compatriots finding inspiration in foreign operatic innovations. Verdi responds in Otello with music that looks back to the traditional forms and structures of Italian opera, but which carries an unmistakably different dramatic thrust and fluidity, in response to Shakespeare’s text. The results are thrilling: from the violent storm that opens the opera through to Iago’s blood-chilling Credo and Otello’s increasingly desperate duets with Desdemona. Keith Warner (Wozzeck, Der Ring des Nibelungen) directs a new production of this masterpiece, The Royal Opera’s first in 30 years.

Join tenor Jonas Kaufmann and conductor Antonio Pappano as they explore Verdi'sOtello. Find out more at http://www.roh.org.uk/otello
Otello is Verdi’s final tragedy. After astonishing productivity in his early career, the composer slowed in later life; more than fifteen years separate Otello and its predecessor, Aida, although Verdi revised his earlier works Simon Boccanegra and Don Carlo in the interim. He was lured out of retirement by the composer and librettist Arrigo Boito, who tempted him with a proposal that was very close to Verdi’s heart: Shakespeare’sOthello. Boito adapted the libretto from Shakespeare’s play, with much intervention from Verdi. As the latest utterance from the master of Italian opera, the 1887 premiere was an instant success – but, more than that, Otello has been an important part of the international opera repertory ever since.
The Italian musical landscape had changed during Verdi’s period of isolation, with many of his compatriots finding inspiration in foreign operatic innovations. Verdi responds in Otello with music that looks back to the traditional forms and structures of Italian opera, but which carries an unmistakably different dramatic thrust and fluidity, in response to Shakespeare’s text. The results are thrilling: from the violent storm that opens the opera through to Iago’s blood-chilling Credo and Otello’s increasingly desperate duets with Desdemona. Keith Warner (Wozzeck, Der Ring des Nibelungen) directs a new production of this masterpiece, The Royal Opera’s first in 30 years.

The Royal Opera's new La bohème - a first glimpse (ROH Insight)

Join the cast and creative team of Richard Jones' hotly-anticipated new production as they explore one of the romantic of all operas. Find out more at http://www.roh.org.uk/boheme
Acclaimed director Richard Jones (Boris Godunov, Il trittico) directs a new production of Puccini’s La bohème. Irresistible in its witty, passionate blend of comedy and tragedy, the opera focusses on the lives of a group of young artists as they e